Going away for a couple of weeks

I'll be going away for a couple of weeks, on holiday not prison. I'll be back at the end of the month. Take care.

Rockin' Song of the Week No. 55 - Creedence Clearwater Revival - Ramble Tamble

John Fogerty tributed himself on his last album Revival with the song Gunslinger, and if anyone thought he was blowing smoke out of his own ass, just needed to put on the Cosmo's Factory and seven minutes later they'd have themselves a long re-think. 1970's Cosmo's is perhaps the bands greatest album, jam packed with hits from Up Around The Bend to Who'll Stop the Rain and Travellin' Band to Long As I Can See The Light. Despite the quality of these, the opener ramble Tamble still manages to hold it's own. Fogerty made a living playing a Sun Records guitar, and that sound is all over this song. Ably supported by Doug Clifford's drums, Ramble Tamble kicks off like Scotty Moore on speed. The song could have finished after two minutes but it goes in to a slower period where the title may have got it's first part from. A couple of minutes later we're back in Memphis-mode and the song rock's out to the close. This is the 55th song in the rockin' series I've reviewed and it's probably the first one to go over three minutes. Seven minutes - I've listened to podcasts that didn't last that long. A classic song from a classic album.

The Clovers - Devils or Angels

R'n'b vocal group, the Clovers were one of the great groups of the 50's, whose influence far outweighed their chart success. They consisted of lead singer John "Buddy" Bailey, Harold Winley, Harold Lucas, Matthew McQuater and guitarist Bill Harris. They were formed in Washington and were soon signed to the small independent R & B label, Rainbow Records of New York. Their first release for Rainbow was a cover of the old pop standard "Yes Sir, That's My Baby", coupled with "When You Come Back To Me".

Although the song failed to garner much in the line of sales, it did find a fan in Washington deejay "Waxie Maxie" Silverman, who helped land them a deal with Atlantic Records. In February 1951 they their debut Atlantic disc (Atlantic 934), "Don't You Know I Love You"/ "Skylark". The top side was written by Atlantic boss Ahmet Ertegun, and is my favourite Clovers track. Plenty of their songs have been covered (and rightly so) but I find it strange that Don't You Know I Love You has gone through life relatively untouched. The single shot to number one on the R & B charts and sold over 300,000 copies. The follow-up "Fool Fool Fool" / "Needless" fared even better, also reaching number one but reported to have sold over half a million. The group were then joined by a former member of the Dominos, Charlie White.

Early in 1952 saw "One Mint Julep" / "Middle Of The Night", the top side benefiting from SAO favourite Henry Van Walls on piano. Their songs grew in stature with each release., incorporating strong and imaginative arrangements with catchy lyrics. They always seemed to stay on the blues side of rock 'n' roll with highlights among the next few releases including "Ting-A-Ling" and "Hey Miss Fannie". When Buddy Bailey was enlisted, Charlie White took over the lead role. "Good Lovin" continued the winning streak but 1953's "The Feeling Is So Good" / "Comin' On" became the first 45 of the Clovers to miss the charts since they'd joined Atlantic.

This was rectified at the beginning of the next year with "Little Mama" / "Lovey Dovey" a classic double sider. By the spring they were named as one of the top ten money makers by Billboard magazine and the Juke Box Operator's Association. They were signed to headline Alan Freeds Moondog Coronation Ball, which was held on May 1 1954 to a wild crowd of more than 10,000. They together with Fats Domino co-headlined the "Jubilee of Stars Under The Stars" for Freed at Ebbet's Field in Brooklyn in August. Further hits singles followed with "Your Cash Ain't Nothing But Trash" / "I've Got My Eyes On You" and "Blue Velvet" / "If You Love Me".

And what would we do now for a DVD of the Rhythm & Blues Top Ten Cavalcade, a six week cross country that saw the Clovers share the bill with the Moonglows, Joe Turner, and The Charms. "Love Bug" / "In The Morning Time" made surprisingly little noise on the charts as did another killer double sider, "Nip Sip" / "If I Could Be Loved By You". Their fortunes took another upturn when "Devil Or Angel" / "Hey Doll Baby" was released. They were slowly giving their sound a moe poppy flavour, as witnessed by their next 45, "Love Love Love" and the glorious "Your Tender Lips", another one of my favs. "From The Bottom Of My Heart" / "Bring Me Love" also did brisk business but their success was not to last much longer. For one release they even went back to the vaults and found a gem from 1953, the now standard, "Down In The Alley". When the group's contract with Atlantic expired, it was not renewed.

Their manager, Lou Krefetz, produced their next single and released it on his Popular label in 1958. Sales were disappointing though. They joined United Artists but the outlook seemed gloomy when the first release "That Ol' Black Magic" / "Rock & Roll Tango" kept their run of failures going. However, the follow-up, "Love Potion # 9" by Leiber and Stoller took off and climbed into the pop charts, peaking at # 23. It became the biggest seller in their illustrious history. It proved to be a one-off though and subsequent releases fared less well. Of the original members, only Harold Winley survives. Bill Harris died on December 10, 1988, Harold Lucas on January 6, 1994, Buddy Bailey in February 1994 and Billy Mitchell, who sang lead on "Love Potion # 9", on November 6, 2002.

Recommended listening:
The 2 Sequel CDs are your best bet if can track down copies.
The Clovers - Sequel RSACD 857
The Clovers Dance Party - Sequel RSACD 858

Rockin’ Song of the Week No 54 – The Rhythmaires

Rockin’ Song of the Week No 54 – The Rhythmaires
Ernest Borgine, Jack Palance And Me (Big Hat Records)

What more do you want from a rockabilly song than a rockin’ hillbilly beat and fun lyrics that go beyond the “I love you with that ponytail and Gene Vincent tattoo”. Without taking anything away from the band, who are excellent, it’s the outstanding lyrics of lead singer Stuart Warburton that set the Rhythmaires apart from the crowd. Describing his woman in You Need Help as having a “vocabulary that’ll make Tarantino blush” he adds, “your skin looks like a contour map of Venezuela, and your wardrobe's a failure”. Not your run-of-the mill stuff and to cap it off, the song is a high-energy blast. The only thing I’ve got by them is the Kill Pat Boone CD from the end of 2001, and I’m not sure they’re even together now. The album is superb with Chris Cummings touch evident throughout. The band at the time included Paul Murphy and Mark Ellerton. A prime example of their work is Dead-End Job In a One-Horse Town which has more great lyrics and is set to a Mystery Train-style rockin’ beat. Someone Up There Doesn't Like Me has a country edge that reminds me of some of BR549’s best work from their early days. I don’t want to keep harping on about the lyrics, but this is another example of how a song can be enhanced by a quality set of couplets. Ernest Borgine, Jack Palance And Me is a modern classic, with Cummings’ steel guitar joining the rockabilly party. The lyrics are great fun, he’s looking for revenge and he’s got some hard pals, even throwing in Lee Van Cleef at the end.

Recommended downloads: Baby's Got A Thing About Pat Boone, Dead-End Job In a One-Horse Town, Someone Up There Doesn't Like Me.

George Thorogood European Tour - May 2009

George Thorogood and the Delaware Destroyers are touring Europe this month and I was just looking up their UK dates when I found this little podcast on their official site. Well worth a look it comes from the Clarksdale Jook Joint Jam DVD. I love the way they're describing themselves as the world's best bar band. Cut and paste the link below to view the clip.

http://www.georgethorogood.com/podcast.html

The tour dates are as follows;

05/13/09 Oslo NO Rockefeller
05/14/09 Copenhagen, Denmark Dk Amager Bio
05/15/09 Hamburg De Grosse Freiheit 36
05/16/09 Stuttgart De LKA Longhorn
05/17/09 Brussels, Belgium BI Ancienne Belgique
05/18/09 Amsterdam, Holland NI Paradiso
05/19/09 Eindoven, Holland NI Effenaar
05/21/09 Cambridge UK Corn Exchange
05/22/09 Bristol UK Colston Hall
05/23/09 Southampton UK Guildhall
05/24/09 Birmingham UK Symphony Hall
05/25/09 Liverpool UK Philharmonic
05/27/09 London UK Royal Albert Hall
05/28/09 Manchester UK Apollo
05/29/09 Glasgow, Scotland UK Clyde Auditorium
05/31/09 Dublin, Ire __ Olympia

Imelda May - Don't You Do Me No Wrong

Imelda may continues to make strides towards a successful career on a broader stage than most rockabilly acts have had the fortune to. And while Johnny Got A Boom Boom may not be bona-fida rockabilly in the style of Charlie Feathers, it has the feel and will hopefully lead kids to check out some more rocking stuff. To prove that she can rock with the best, here's a cracking version of Pat Cupp's rockabilly classic, Don't You Do Me No Wrong. Recorded live at The Boardwalk last December, her hot band includes husband Darrel Higham on guitar, Steve Rushton on drums and good ol Al Gare on double bass.

The following clip is a neat little promo that hints at the talent that is Imelda May and will hopefully give some youngsters their first taste of rockabilly. It's shame this clip didn't run for five minutes or so and show a little bit more behind the scenes.

Occasional Bootleg Series No. 6 - Jerry Lee Lewis, Newport, 1987

Jerry Lee Lewis, Civic Centre, Newport, South Wales, UK
April 16th 1987

The band: Kenneth Lovelace (guitar/fiddle/vocals), Linda Gail Lewis (vocals), Phoebe Lewis (vocals), Joel Schumaker (guitar), Harvey 'Duke' Faglier (bass), Danny Harrison (drums), Moetta Stewart (keyboards, vocals)

Tracklist: Rockin' My Life Away / You Win Again / Why Don't You Love Me / Mean Woman Blues / Over The Rainbow / Rock & Roll Is Something Special / One Of Them Old Things / Meat Man / Autumn Leaves / Drinkin' Wine Spo-Dee-O-Dee / You Belong To Me / Roll Over Beethoven (with Linda Gail Lewis) / We Live In Two Different Worlds (with Linda Gail Lewis) / When You Wore A Tulip (with Linda Gail Lewis) / Great Balls Of Fire / This World Is Not My Home / Tennessee Saturday Night / Middle Age Crazy / Whole Lotta Shakin' Goin' On ­ You Can Have Her (Medley)

I've been waiting for a bootleg of this show for 22 years and here it is. This was my first ever Jerry Lee show and marked the moment when I fell in love with the guy. I always liked him but after this show, I was obsessed. For an audience recording the sound is pretty good. The main thing I remembered about this show was his version of Over The Rainbow which blew me away.

The tracklist shows how diverse a Jerry lee show was in those days. It's such a shame that he now plays the same handful of songs show after show. Personally I'd like to see Kenneth Lovelace take a more proactive role here and start prompting Jerry Lee with some numbers that would stimulate the Killer and be fresh for the audience.

The show kicked off in great style with a quintet of songs that ranged from the rock 'n' roll of Rockin' My Life Away to the country of Hank's You Win Again, to a superb strolling version of Why Don't You Love Me to the beautiful five minute version of Over The Rainbow. Effortlessly moving from one genre to another, JLL is the king, no doubt about it.

I don't recall it from the time but listening now I'm surprised how uninspriring Meat Man was and although Rock & Roll Is Something Special is an apt title, it's a pretty average song. That's about it though, the rest is wonderful. Even the three duets with Linda Gail are fine. Jerry Lee tries to blame himself for the wrong key in We Live In Two Different Worlds, but whatever key they played, it was always going to be too much for Linda to hit. You Belong To Me and Middle Aged Crazy are both performed beautifully and you get the usual power and excitement in Balls and Shakin'.

If you were at the show or any shows from the tour, it can be downloaded courtesy of jbored76 at http://www.megaupload.com/?d=CFLCNCEM

Jerry Lee Lewis Highway

Looks like the Highway Department has woken up to the Killers influence before the Country Music Association. In Nashville the other day, Tennessee's Legislature approved a bill designating the section of Getwell Road between Interstate 240 and the Mississippi border "The Jerry Lee Lewis Highway." I suppose it just wasn't tactful to call it the Killer Highway.

Jerry Lee, his daughter Phoebe Lewis and manager J.W. Whitten were present when the House of Representatives announced the resolution Monday night. Talk about a one sided love affair, the vote was 95-0 in favor of the bill, following a 33-0 vote in the Senate.

"I'd just like to say thank you very much and God bless you. It's not every day you get a street named after you. I think it's a great honor. It's a privilege to be here and God bless each and every one of you," Lewis said.

Rock on Killer.

Charlie Feathers - Can't Hardly Stand It! - The Complete 50s Recordings

Can't Hardly Stand It! - The Complete 50s Recordings
El Toro Records ETCD 1020

Track listing:
CD1
1 Peepin' Eyes
2 I've Been Deceived
3 Defrost Your Heart
4 A Wedding Gown of White
5 Tongue-Tied Jill
6 Get With It
7 Everybody's Lovin' My Baby
8 Can't Hardly Stand It
9 One Hand Loose
10 Bottle to the Baby
11 When You Decide
12 Nobody's Woman
13 Too Much Alike
14 When You Come Around
15 Why Don't You
16 Jungle Fever
17 One Hand Loose (alternative take)
18 Can't Hardly Stand It (alternative take)
19 Bottle to the Baby (alternative take)
20 Bottle to the Baby (alternative take)
21 Everybody's Lovin' My Baby (alternative take)
22 Too Much Alike (alternative take)
23 My My - Jody Chastain (Ch. Feathers on guitar)
24 Jody's Beat - Jody Chastain (Ch. Feathers on guitar)

CD2
1 I've Been Deceived (demo version)
2 Runnin' Around (demo version)
3 Defrost Your Heart (demo version)
4 Runnin' Around
5 I've Been Deceived (alternative take)
6 Someday You Will Pay - The Miller Sisters (Charlie Feathers on spoons)
7 Defrost Your Heart (alternative take)
8 A Wedding Gown of White (alt. take)
9 We're Getting Closer to Being Apart
10 Bottle to the Baby (Sun demo version #1)
11 Bottle to the Baby (Sun demo version #2)
12 Frankie and Johnny (take #2)
13 Frankie and Johnny (take #5)
14 Bottle to the Baby (Sun take #1)
15 Bottle to the Baby (Sun take #2)
16 Honky Tonk Kind (take #3)
17 Honky Tonk Kind (take #4)
18 So Ashamed (take #1)
19 So Ashamed (take #2)
20 Corrine Corrina
21 The Man in Love
22 This Lonesome Feeling
23 Johnny Come Listen

El Toro have produced the goods again, this time concentrating on the early career of rockabilly legend Charlie Feathers. Featuring no fewer than 47 tracks, this release has all the singles, outtakes and demos that the Holly Springs Hellraiser cut. There’s a split opinion of Charlie within the rockabilly world. Some think he has been given undue acclaim, others think he should have been bigger than he was, but what everyone agrees on is the quality of his best rockabilly numbers.

CD1 kicks off with the hillbilly recordings, all of which stand the test of time well. Peepin’ Eyes is a lively pepped-up hillbilly, with I’ve Been Deceived having clever lyrics just a notch below ol’ Hank himself. It’s the Meteor single where thinks get spicy, Tongue-Tied Jill being nothing short of brilliant. This and the King stuff that follow show Charlie at his hiccupy, southern drawling, hip-swivelling best. Classics abound in the form of the issued and unissued versions of Everybody's Lovin' My Baby and Can’t Hardly Stand It. One Hand Loose has one of the coolest, simplest six word intros in rock ‘n’ roll music, “well I’m a tip top daddy” – you sure were Charlie. I love the poppier sounds of When You Decide and Too Much Alike and would have liked him to persevere with that sound in the early 60’s. Bottle To The Baby is another classic and in the spirit of completism El Toro have even chosen to include the great speeded up version that Ace put out a few years ago. The CD closes with both sides of the Jody Chastain single that Charlie played rhythm guitar on.

The second CD looks at the unissued recordings which at one stage were rare and much sought after. Oddly enough, some of this is the first stuff I heard of him, as the Zu Zazz album was my introduction, even before I heard the King classics. I love the alternates of Bottle to the Baby, Corrine Corrina and Frankie And Johnny, all of which are here. This is a brilliant release from El Toro which should hit all the right spots for either those without any Charlie in their lives (shame on you) or those who may have it all but just want it collected in one place. Either party is on a winner – he really was a tip top daddy.

The Clash - like watching three Eddie Cochran's

I've just been watching a documentary of my favourite punk band, The History of The Clash and heard a great quote fom one of their early followers. Talking about their live show, the guy said that with their head-on sound and the visual dynamics of the front three, "it was like watching three Eddie Cochran's". What a thought. I'd have been happy just to have seen the one, the closest I ever got was a tongue in my ear from Sharon Sheeley. Nice, but not like watching Eddie baby on stage. About the only link I can think of between Eddie and the Clash is Brian Setzer, who was best mates with Joe Strummer and played the role of Eddie in La Bamba. So here's a few videos of the Clash in their prime, Eddie in his prime and the Stray Cats doing Gene and Eddie.

Bobby Bland – Two Steps From the Blues (BBC Four)

The UK’s premier broadcaster BBC have been running a weekend of programmes dedicated to the blues, under the banner, Blues Britannia. Obviously majority of programmes are obsessed with the white wannabees, Clapton and Long John Baldry with just the odd snippet of BB King or John Lee Hooker, but the most interesting of them is this tribute to Bobby Blues Bland.

BB King opens the proceedings with the quote, “Bobby Bland has a voice soft as silk, well that’s the way it is for me”. Well, me too BB. The story starts with Bobby’s influence from gospel music, with Ira Tucker of the Dixie Hummingbirds talking with gusto about the early 50’s. BB King told with a smile that whatever blues club they were at on a Saturday night, they were always in church on the Sunday – the singers and the crowd. When talk moves to Memphis, BB describes Beale Street thus, “I’ve never been to college but Beale Street was like a community college” saying you could learn about blues, gambling, etc. Talk of Duke record owner Don Robey ranged from bitter about royalties, to refreshing about the man himself, and the opportunity he gave the artists. Bobby, who always comes over as humble, thanked Robey for having faith in him.

There’s some nice live footage from the 70’s and more recently from Memphis, showing how little his beautiful voice has changed over the years. The live clip of Bobby and BB from the 70’s is brilliant, BB’s guitar and Bobby voice walking in perfect tandem to produce the most soulful blues ever. Peter Gauralnick recalled seeing him live where during Stormy Monday he would fall to his knees and the women in the audience had to be restrained.

Simply Red’s Mick Hucknell laments Bland being a vastly under appreciated. There are a few clips from Hucknell’s 2008 tribute album where he actually comes over quite well. I’m not a Simply Red fan, but his voice doesn’t sound too bad and he comes over as a genuine fan.

So to sum it up, it’s a great, long overdue documentary. There was a time, twenty odd years ago, that programmes like this were all the rage on Arena and the like, but that trend has long gone. Shows like this will hopefully start to redress the balance. Check the BBC website to see if it’s available on iPlayer.

The Jets live at Jolly Beggars, Coventry

The Jets live at Jolly Beggars, Coventry
25th April 2009

Now Coventry ain’t exactly on my doorstep, in fact it’s three and a half hours drive, but that’s what you get for living like Bobby Charles. This trip was planned for my niece Kelly Ann who like all good girls has developed a little soft spot for some rockabilly. She was going to see the ill-fated Stray Cats show Manchester last September, until Slim Jim did the kamikaze stunt the night before. So who better for her to see as her first rockabilly show than the Jets. I’ve seen them probably a dozen times so I knew she wouldn’t be disappointed. So, me and the misses and my sister and niece spent a lovely sunny day before hand in Stratford, where we got to help celebrate Shakespeare’s birthday, along with some totally strange Morris dancers.

The venue in the heart of downtown Coventry is ideal for this type of concert, a long dance-floor and a raised stage with seating all around. The DJ, whose name escapes me did an excellent job of working the crowd up, playing a well thought out set that went through the early days before closing with a couple of recent numbers from the likes of Go Cat Go, Darrel Higham and Bill Crittenden. He also did a few requests, including Billy Fury’s Gonna Type A Letter for my three gals. Him and his misses could cut a rug as well.



I hadn’t seen the Jets since they’ve suffered their health problems, but as soon as they started playing it was obvious that their music hasn’t suffered. They play pretty much anything from the classics to the obscure and their own originals to covers. They have their own unique sound which combines the standard three-piece rockabilly format with exquisite harmony vocals. Highlights of their set would have to include Razor Alley, Love Makes The World Go Around (a request) and an accappella version of Goodnight, Sweetheart, Goodnight. Early in the set they did a great stroller version of Buddy’s That’ll Be The Day which blew me away. Stare, Stare, Stare and Bony Maronie were both excellent but next to That'll Be The Day I would have to say that my favourite was Little Orphan Girl. They encored with Andy Starr’s Dig Them Squeaky Shoes, rounding out of night of rockabilly meets doo-wop in the finest Jets tradition.

Wayne Hancock - Viper of Melody (Bloodshot Records)

Lloyd Maines is the man behind the knobs for the Texas tonkers sixth studio album, and again the pair have come up with the now familiar brand of honky tonk swing. When Wayne "The Train" Hancock came on the scene a decade or so ago, he was a breath of fresh air. His songs and style were so retro you'd have been forgiven for thinking that Hank was still in Shreveport and Webb Pierce was still dreaming of a swimming pool. Six albums later and it's hard to retain that freshness. The music is still pretty much the same, which is good because he'd be lambasted if he changed, but to me, the quality of the songs isn't as outstanding. Don't get me wrong, there are some fine moments here, but nothing like Thunder Storms And Neon Lights, 87 Southbound or No Sleep Blues.

On the positive side, the trumpet seems to have gone, and if you like pure hillbilly music, then Hancock is still about the best around. The highlights here include the up-tempo Throwin' Away My Money, the tale of betrayal and jealous revenge, Your Love And His Blood and Moving On My Mind. I just didn't warm to the title track, the jazzy Midnight Stars And You or the Hawaiian sleeper Tropical Blues, all of which lacked any oomph. There's plenty here that's okay and probably good in isolation, but as an album it just doesn't compare to his first couple of releases, and there's no killer track. While I'm being a grump I might as well admit that I don't think much of the album cover. I still love him though, and his live shows are absolutely mind-blowing.

Occasional Bootleg Series No. 5 - Dwight Yoakam

Occasional Bootleg Series No. 5 - Dwight Yoakam, KPFK FM Los Angeles
Aug. 4, 1985

Tracklist: Honky Tonk Man, Down The Road, Heartaches By The Number, Reading, Righting, Route 23, Miners Prayer, South of Cincinnati, It Won't Hurt, This Drinking Will Kill Me

This is what bootleg's are all about. Rare as hen's teeth, good sound quality and something that is never going to be issued by a bone fide label. This is a radio appearance by Dwight Yoakam and his band when they were peddling for a major label to pick them up. The show, for KPFK FM in Los Angeles in the summer of '85 has some indepth interviews interspursed with songs. The band are the crackerjack crew that first came to my attention with the Guitars, Cadillacs, etc, etc album. They had a pure, honest honky tonk sound with an acoustic feel that had Pete Anderson's twangy guitar cutting through it to devistating effect. They are Dwight on vocals and acoustic guitar, Jeff Donavon on drums, Brantley Kearns on fiddle, J.D. Foster on upright bass and Pete Anderson on electric guitar.

Musically, this show is everything you would expect from mid '80s Dwight, with fans of his first couple of albums likely to be foaming at the mouth with the contents here. If anything, I would say that the version of Heartaches By The Number is arguably, better than the released version, it's underproduced sound suiting both the song and DY and the boys musicianship. The interviews are also what you'd expect of Dwight, i.e. intelligent, articulate and slightly pompous. Not in a big headed way, it's just that with Dwight, his motto seems to be "why use a simple word, when a strange, long one from the depths of the thesaurus will do just as well". Make no mistake, this is a brilliant find and should be easy enough to find out there in internet land.

Jerry Lee Lewis - The Road Begins

Jerry Lee Lewis - The Road Begins
El Toro Records- ETCD1022

1 End of the Road
2 Crazy Arms
3 Born To Lose
4 Turn Around
5 Matchbox (Carl Perkins)
6 Your True Love (Carl Perkins)
7 Silver Threads Among The Gold
8 Hand Me Down My Walking Cane
9 Roll Over Beethoven (Carl Perkins)
10 Straight A's In Love (Johnny Cash)
11 Whole Lotta Shakin' Goin' On
12 It'll be Me
13 I Love You Because (Johnny Cash)
14 Great Balls Of Fire
15 You Win Again
16 I Want You Baby (Billy Riley & his Little Green Men)
17 Flyin' Saucers Rock & Roll (Billy Riley & his Little Green Men)
18 The Crawdad Song
19 Deep Elem Blues
20 I'm Feelin' Sorry
21 Put Your Cat Clothes on (Carl Perkins)
22 Love My Baby (Hayden Thompson)
23 Mean Woman Blues
24 Dixie
25 Crazy Arms (Million Dollar Quartet session)
26 End Of The Road (Million Dollar Quartet session)
27 Whole Lotta Shakin' Goin' On (Steve Allen TV Show)
28 Don't Stay Away ('Til Love Grows Cold) (demo 1952)
29 Jerry Lee's Boogie (demo 1952)
30 I Don't Hurt Anymore (demo 1954)
31 I Need You Now (demo 1954)

El Toro Records continue to go from strength to strength with their releases of both old catalogues and some of the best current bands. Obviously this little peach sits fair and square in the first category. Most fans will have everything here many times over but who can be arsed to create a playlist that captures the early years of the Ferriday Fireball like this.

Jerry Lee blew into Memphis with a single minded, confident vision of fortune and fame that he just knew he was going to attain. The compilation features the earliest classics from his time at Sun like Crazy Arms and It'll Be Me, together with some that weren't destined to classics for a few more decades, like Deep Elem Blues and The Crawdad Song. When the Killer wasn't criss-crossing the country on Sun package shows he was used by Sam Phillips as a session man. We get some perfect examples of it here, backing the masters Johnny Cash (JLL's participation is dubious however) and Carl Perkins as well as being a key component in the sides of Billy Lee Riley and Hayden Thompson. The Thompson and Riley tracks stand-up against the others and prove that they could just as eaasily made the big time, if fate (and Sam) had played a different hand.

Elsewhere there's a few from the legendary Million Dollar Quartet session and Shakin' from his tv debut on the Steve Allen Show (see below). The two private accetates from the teenage tearaway from New Orleans in '52 and Shreveport in '54 show that Jerry Lee was already an accomplish pianist in need of a sympathetic ear and a decent studio. Enter, Sam Phillips and his Memphis Recrording studio, where the road really did begin. A brilliant release.

Webb Pierce - High Geared Daddy (Gonna Shake This Shack Tonight)

Bear Family's Gonna Shake This Shack Tonight series seems tailor made for guys like me whose main love is rockabilly, but also have the good grace to enjoy their country music, especially of the uptempo variety. I like a good country ballad, but can't stand a singer just whining away. If anyone is going to fit that category, it's Webb Pierce. I find most of his ballads hard to digest but love the hillbilly boogie he was so good at. That makes this CD an absolute treat, with 32 performances covering his golden era from 1949-'59 on Four Star, Pacemaker and Decca. What is striking is how little the music changed over such a long period. If you look at virtually any rock 'n' rollers music over such a period, you can bet it would go from either hillbilly or blues to rock 'n' roll back to country, blues or soul. About the only thing that changed with Webb was the introduction of poppier backing vocals for a brief period in the late 50's. On a couple of these tracks he comes over like Marty Robbins or Sonny James.

Webb owned the country charts during the 50', amassing an astonishing 96 hit singles, more than half of which went into the top 10 including thirteen number 1's. There's reason he did so well is because his beat was so damn infectious, an must have sounded great on every hillbilly jukebox from the Dairy Queen's to the boozy honky tonk bar-rooms. The biggies are here like Honky Tonk Song, Tupelo County Jail, In the Jailhouse Now and I Ain't Never, but there's also some great moments with less heard numbers like I'm Tired and later version of New Panhandle Rag. From the earlier days the highlights have to be a trio of songs that will surely be on the big jukebox when we get to hillbilly heaven, Hayride Boogie, Drifting Texas Sand and California Blues. Hayride Boogie was adapted half a decade later as Teenage Boogie and rightly awarded cult status.

The boogie is relentless throughout - it's a white man's Lightnin' Hopkins or John Lee Hooker. This is a stunning release that rockers and hicks alike can buy with confidence.

Howlin' Wolf - Shake It For Me

Howlin’ Wolf – if ever there was name that summed up a man’s persona, this was it. When he stands up to play, the guy’s so huge his guitar looks a mandolin. The passion in his eyes. The menace in his voice. His band in this 1964 clip are Chicago’s version of the Nashville A-team. Sunnyland Slim on piano, Willie Dixon on bass, Clifton James on drums and the monstrous guitar sound comes courtesy of his partner in crime, Hubert Sumlin. They say don’t wear white socks with dark trousers and shoes, who’s gonna tell the Wolf that. Sunnyland and Sumlin nearly match the Wolf, but not quite. He’s a freak of nature, from his size 14 feet to his size 28 neck. I love this guy, he’s the ultimate bluesman. If he was good enough for Sam Phillips, then he’s good enough for me. Sam described Howlin’ Wolf as “where the soul of man never dies”. I’d say he was “where the soul of the devil never dies.” This is the type of blues jam that Elvis must have had in mind when he did the sit-down jam on his ’68 Comeback Special. Wonderful, wonderful stuff.

Lucky Tubb and The Modern Day Troubadours - Damn The Luck

Lucky Tubb is the great nephew of the legendary honky tonk singer, Ernest Tubb. Ernest was one of the biggest stars in country music history who amassed no fewer than 82 hits between 1944 and 1979. Poor ol’ Lucky is going to enjoy about 82 hits fewer than that, not because he’s bad, in fact he’s good, very good, but he suffers from the modern day syndrome of being too country. Let’s be honest, his Uncle Ernie would be laughed out of Nashville nowadays with his chiselled looks and un-CMT vocals delivery.

The fact that Lucky won’t be the darling of the Nashville scene, will no doubt suit him fine. He comes from the Wayne Hancock, Hank III school of hillbilly, happy to tour the bye-roads of small town America in the tradition of the likes of Tubb and Bill Monroe. The other thing to consider is that he isn’t just making a living as an uncle Ernest tribute singer, Lucky Tubb is very much his own man. He’s lived a troublesome life and has his own story to tell. He’s toured as opening act for Dwight Yoakam, Ray Price and Hank III but on this listening, I think he’s gonna be the headliner pretty soon.

Damn the Luck is Tubb’s second album, following Generations, six long years ago. This latest release was recorded live in the studio in just one day! The Modern Day Troubadours are Tubb on vocals and rhythm guitar, Natalie Page Monson on fiddle and harmony vocals, Jericho Renshaw on lead guitar, Casey Gill on slap bass and Steve England on pedal steel, dobro and mandolin.

The album evokes the sounds and smells of lost highway juke joints, ala Wayne Hancock but without that bloody trumpet, that seems to get more and more airplay. What I love about this album is that you can’t see the seams between the songs written 50 years ago and the ones written today. Lucky himself wrote six of the eleven songs, and there’s a quartet of vintage family numbers. Not Ernest, but his Uncle Douglas who wrote three of them between 1952 and 1956, and another relative, Ronnie Wade wrote one in 1957.

As soon as the album kicks off with Used Up Love I just knew I was going to love it. Huntsville sees him in prison (he actually spent 5 years behind bars, including time in Huntsville) where “some Mexican wants to make me his wife – but I don’t think so”. You’ll enjoy the lyrics and you’ll drool over Renshaw’s gittar. Bakersfield pays tribute to the sound that put the city on the map with Renshaw and England taking top honours again.

I could hear a bit of Chet Atkins in Renshaw’s picking on The World Is A Monster which along with Sweet Mental Revenge sees country music’s infamous dark side come to the fore. It ain’t all neon signs and parties with hillbilly gals in denim shorts and cowboy boots.

I love the chugging rhythm of Keeping Time, with it’s Drifting Cowboys lonesome sound and some great honky tonk vocals from Tubb. It’s Your Wagon is fine up-tempo hillbilly with The Modern Day Troubadours showing what a fine country band they are – Casey Gill’s bass driving the whole thing along.

Honky Tonkin’ isn’t the Hank Williams classic, but is an enjoyable slab of hillbilly with Gill again sounding right on the money - “Got my baby by my side, and Bob Wills on the box”. There’s more hot picking on Annie Don’t Work No More with Renshaw’s rocking guitar and the backing vocals giving it a real rockabilly feel. The way he signs “rrrrrrock” is superb. The CD closes with the title track, a honky tonker which along withy Annie, is the highlight of a fabulous album.

The only youTube clip I could find is the one below, and although it only runs for about a minute it gives a glimpse of what they sound like live.

Arlie Duff

Arleigh Elton Duff was born on 28th March 1924, in Jack's Branch near Warren, Texas. Originally nicknamed “Pee Wee” Duff, he was an All-State basketball player his senior year. Later, he served his country in the US Navy for three years during World War II. After his discharge, He continued his education and earned a Bachelor of Science degree as well as a Master of Arts in Education degree from Stephen F. Austin State College in Nacogdoches, TX. While attending college, he continued his basketball prowess, being named to the All-Conference team while being captain of the varsity team.

However, it was his music career for which he was to leave his mark. He strated off as a songwriter before recorded with his Western Cherokees for Starday in 1952. Midway through the next year he went to number 7 in the country charts with the BMI award winning single, "Y'All Come". he originally cut is as the theme tune for the Houston Hometown Jamboree, berfore it bust wide open. He was unable to follow up this hit. Arlie married Nancy White after an 18 day courtship on October 10, 1954, during the Louisiana Hayride, with best man Red Foley singing "I love You Truly" and "Every Step of the Way" to the couple. The ushers for the bridegroom included no less than Hawkshaw Hawkins, Porter Wagoner, Billy Walker and Tommy Sosebee. I had a couplew of tossers fromm work and a cousin - that's life.

Most readers of this Blog will be forever in love with Decca for cutting his stab at rockabilly, Alligator Come Across. It sounds a lot like the early rocking catalogue of George Jones. It's a bibs and overalls stomper with heaps of steel and rocking country guitar. The parody of Elvis halfway through is a classic, but all too brief moment of madness. The fiddle solo adds another loveable layer.

He spent years as a DJ in Colorado and Texas. He wrote Ernest Tubb's last solo hit, "Another Story", which went to number 16 in the country charts in 1966. Also "It's The Little Things", a # 1 C&W hit for Sonny James in 1967. In 1983 he published his autobiography, "Y'All Come" (Austin : Eakin Press), now out of print. Sadly, Arlie passed away on July 4, 1996.

Among the artists to cover were Bing Crosby (!), Patti Page, Bill Monroe, Bobby Bare, Faron Young, George Jones, Buck Owens, Glen Campbell, Porter Wagon and Little Jimmy Dickens.


DISCOGRAPHY

Decca

Rec. No. Side Song Title
29243 A Courtin' In The Rain
29243 B She's A Housewife That's All
29428 A I Dreamed Of A Hillbilly Heaven
29428 B Lie Detector
29589 A Take It Easy On Me
29589 B Pass The Plate Of Happiness Around
29866 A Home Boy
29866 B Oh How I Cried
29987 A So Close And Yet So Far
29987 B Alligator Come Across
302 A What A Way To Die
302 B You've Done It Again

Salvo

Rec. No. Side Song Title
2861 A In The Big Woods
2861 B Croppo Le Blanc

Smartt

Rec. No. Side Song Title
1001/1002 A Send Me An Angel
1001/1002 B You're The One For Me
1003/1004 A A Dark Night, A Lonely Street
1003/1004 B Mama, You've Had Your Day

Starday

Rec. No. Side Song Title
104 A You All Come
104 B Poor Ole Teacher
106 B Stuck In-A-Mud Hole
127 A When The Saint’s Go Marching In
127 B Country Singin' (Alongside The Road)
132 A Let Me Be Your Salty Dog
132 B Back To The Country
176 A Fifteen Cent's A Sop
176 B Courtin's Here To Stay
302 A What A Way To Die
302 B You've Done It Right

Vince Mira - Cash Cabin Sessions (Lucky Rebel Records)

Track listing: Cold Hearted Woman, Blistered, Lonely Heart, Closer, I Was the Train, Ring of Fire, I Walk the Line (Spanish), Ring of Fire (Spanish)

I hadn’t heard of Vince Mire until recently, when I was blown away by his debut album, Cash Cabin Sessions on Lucky Rebel Records. He’s apparently making a big stir in the States, having already appeared on national tv on the Ellen DeGeneres Show and Good Morning America. Audiences seem to be captivated by such a young guy being so good at doing Johnny Cash you’d swear he was at least twenty years older. While it might have proven a good gimmick to get him some attention, there’s more substance to him than just that. His original songs are great and he’s not so much a JC impersonator, he’s more of a JC interpreter.

Vince Mira was born in Los Angles but raised in San Antonio, Texas. A couple of year ago he was playing for tips in Seattle's Pike Place Market where he was discovered by entertainment producer Chris Snell, owner of Seattle night club, the Can Can. Like a man with a badly broken neck, he’s never looked back. Next came the tv exposure before finally getting signed to a recording contract. Due to his Hispanic roots, he’s been given the wonderful nickname, "Juanny Cash".

His first album is produced by John Carter Cash, the son of Johnny and June. Mira had the privilege of recording it at the Cash Cabin (built by Johnny Cash) in Nashville, Tennessee. The first thing that strikes you is the amazing voice he has for someone so young. He was fifteen when he laid down these tracks! Another highlight is the quality of the band the great sound that John CC has created. Jamie Hartford is hotter than a Vernon Presley cheque and David Roe is about the best in the business, having slapped the bass for Dwight Yoakam and Johnny Cash himself.

The album blasts into live with Cold Hearted Woman, with Hartford playing pure Sun Records rockabilly guitar and Mira proving that he ain’t just a JC soundalike. The ballad Lonely Heart sounds like CMT hit fodder, while there’s an Irish folk quality to Closer. I Was The Train is nothing short of brilliant. A tribute to Johnny and Hank Williams that stands up there with Rodney Crowell’s Walk The Line Revisited or Alan Jackson’s Mignight In Montgomery. High praise indeed, but truly justified.

There’s a handful of Cash covers, and they all work well. Blistered is a stunning version of JC’s much underrated uptempo country bopper. Female backing vocals add the icing on the cake – and what a cake it is. Ring of Fire is good but perhaps he’d have been better doing something like obvious. That’s why Blistered worked so well. The album closes with Spanish versions of Ring Of Fire and I Walk The Line, both of which should find a massive market in pockets of the States. I hope this CD sells by the bucket-load and that Miraa and JCC get to work together on the follow-up.