Supporting a strong work ethic which has seen the components of debut album ‘Nights Come Alive’ assembled in a time that the Guinness Book of Records should consider for an award, given that the band known as Damokles have only been in each other’s pockets since late 2019. Such an incredible feat once you consider all the restrictions a pandemic has wrought upon this world, and associated problems this has created for many. It’s no wonder that once ‘Nights Come Alive’ gets underway, it immediately gives the impression of a band having strained at the leash for too long, given the wave of emotions that pour out and with only the ventilation holes of its ten-track playlist offering an outlet to do so. No matter, as the short, sharp bursts of post-punk, mixed with indie-rock and emotional 90s post-hardcore provide ample coverage to what lies at the heart of this Oslo-based five piece, which may not always be easily decipherable, but makes it even more fascinating and worthy of repeat visits. Cryptic tales abound therefore, but there are signs pointing to feelings associated with alienation, boredom, and despair. For those in recent memory, debut single ‘Closing Time’ was an angular blow to the ribs and one powered by 80s grunge merchants The Afghan Whigs to those in positions of power and tempted by corruption. Further similarities arrive with even more recent, ‘Bodies Get Bored’, and again the dishevelled overcoat of The Afghan Whigs proving a source, in addition to mining energy from At The Drive-In, with lyrics purporting to similar concerns of dishonesty and its repeated cycles as indicated by its impressive words, “The parasite is as good as its host, The fruit is ripe, Let’s dictate its cost”. Music for the current times without doubt, and with lyricist Gøran Karlsvik possessing an uncanny habit of “right place, right time” mentality when it comes to his creativity and the rest of his projects. With Damokles providing the outlet on this occasion, there appears to be something of the “personal” amidst the growth of ‘Miniature Gardens’, which is also the band’s most marketable commodity given its accessibility via its alternative-rock leanings. ‘Breathtaker’ offers another side to the Damokles’ sound with its considered approach, before collapsing under a familiar weight of post-punk noise. It is from these shoots of creative differences which helps spawn the gothic, theatrical moments of the album’s title track, to quite different yet remaining an irritable ball of noise that is the excellent ‘Ms. Misanthropy’. Damokles has clearly enough ideas in their tank to maintain their current level of output, but one that has by no means reached anywhere near its zenith. Amen to that because album #2 is already in production, suggesting Damokles is already straining at the leash once more. Turbulent times it most certainly is, but with Damokles providing the soundtrack there is much that will resonate here and comfort to be found in this terrific debut.

Preparation for the next visit to ‘Sadie’s Gentlemen’s Club Visit 04. Ecstasy’ involves songs chosen to bring joy to those who inhabit such establishments where the music will thrill, excite, and provide much pleasure and create an overall state of “Ecstasy”. That looks set to be a done deal for those entering ‘Sadie’s Gentlemen’s Club Visit 04. Ecstasy’ where from its attractive layout created by Gito Lima and housed via trifold digipak with the songs compiled by Mark Armstrong, the feeling is that any visitor is already in safe hands. Beginning the evening’s proceedings with a Ray Charles and His Orchestra number and one that should be known to all, ‘Hit The Road Jack’, provides further reassurance that “Visit 04” will live up to its previous visits (albums). The sweeping orchestral strings backing Jamie Coe’s ‘Cleopatra’ is the kind of track such albums as ‘Sadie’s…’ was built for, given its flamboyant and noirish flavours, not to mention suitability for a 60s film score. Next up is Chuck Daniels and The Downbeats with ‘Tiny Tim’, which is an excellent slice of popcorn with its mood intentionally underplayed. The greatness continues via personal touch of ‘Cry To Me’ with a sublime performance by Solomon Burke, and then more fine vocals from The Chantels and ‘Well, I Told You’. New experiences for some punters can be heard during compelling Sam Butera and song ‘Equator’; a song fascinating for its approach that is one moment pared back with strong vocals driving, then more of a full band sound joining in, and ends up sounding authentic as it does thoroughly modern. There’s no doubting the origins of Bull Moose Jackson’s traditional rhythm and blues ‘I Want A Bowlegged Woman’, likewise the excellent turn from Wynonie Harris with ‘Bite Again, Bite Again’ which is among the highlights of many throughout this latest album. Add to that instrumental ‘Drumble’ from interestingly named Dennis and The Menaces, and a title track offering from always reliable Ben E. King, without neglecting appropriate for the album ‘Pills’ from Bo Diddley, and there is ecstasy supplied on many, many levels during the fourth visit to the engaging club known as “Sadie’s Gentlemen’s Club”.

Another album in the Koko Mojo “Spotlight Series” that focuses on individual artists who have contributed much to music’s historical past is Jackie Wilson. Given the extra moniker “Mr. Excitement” because of his lively stage manner when performing live, the legend that was Jackie Wilson gave much to rhythm and blues, rock ‘n’ roll and early soul music. Album compiler Mark Armstrong gets to work once more and brings another twenty-eight tracks for your listening pleasure. The album showcases Jackie Wilson’s extraordinary operatic tenor vocal, and features his stint with Billy Ward and The Dominoes, before going on to perform as a solo artist. All is featured during ‘Spotlight On Jackie Wilson – Mr. Excitement’ with added liner notes providing details of Wilson’s career, and housed in an environmentally sound digipak. Turning attention to the playlist, with tracks selected from a ten-year period, it is Billy Ward and The Dominoes that kickstarts this album. Having replaced Clyde McPhatter as the vocalist in Billy Ward’s Dominoes in 1953, Jackie Wilson is heard as part of this setup during the first six numbers with, in particular, ‘St Louis Blues’ and ‘Learning The Blues’ demanding special praise. From excellent beginnings, the rest of this collection switches to Wilson’s solo performances from 1957, including the smash hit ‘Reet Petite (The Finest Girl You Ever Want To Meet)’, which brought him much fame and was reissued in the 80s securing #1 on the UK Singles Chart. However, there is more to Jackie Wilson than this one track, with examples as the ballad-esque ‘I Know I’ll Always Be In Love With You’, larger-than-life rhythm and blues of ‘Baby Workout’, to pop tendencies of ‘Love Train’, musically colourful ‘I’m Comin’ On Back To You’ and, as with many of his performances, charismatic ‘The Joke (Is Not On Me)’. With Brunswick housing most of the solo recordings, Jackie Wilson made a name for himself not only because of his incredible voice, but also for displaying skills as a songwriter and for his duet performances with Linda Hopkins featured during the end of this collection. All three songs performed with Linda Hopkins are absolute belters and could easily charge the national electricity grid given the astonishing power of both singers. Revealing itself to be a fascinating, not to mention important set of albums is Koko Mojo’s “Spotlight Series” given its norm of not adhering to predictable formulas when compiling such albums, but also serving as a reminder of incredible performers as the magnificent Jackie Wilson.

The first outing featuring vocal harmony groups with added Latin influences arrived in 2021 under the heading, ‘Vocal Group Harmonies – Let’s Go Latin’ on Koko Mojo. Since that first album release, the reception was particularly warm given that this was new musical territory explored by the record label, and one packed with variety due to traditional cultural rhythms mixing with established rhythm and blues and an emerging rock and roll sound. With album #1 proving a success, the decision was made to compile a second volume and issued with a simple brief to “Let’s Go Latin Again”. Due to the positive response given to the first CD, ‘Vocal Group Harmonies – Let’s Go Latin Again’ increases its track list to include an extra three songs compared to its predecessor and therefore totalling twenty-eight songs altogether. As mentioned, the approach of this series assumes much interest in those vocal groups from the Latin quarters of America and offers a platform to an earlier generation of Latinos with a keen interest in the rhythm and blues sounds of the times. Such was the impact that Black African American rhythm and blues was either duplicated or presented with added Latin influences. The songs selected for ‘Vocal Group Harmonies – Let’s Go Latin Again’ provides examples of these influences and focuses on the years beginning with 1954 and concluding in 1963. More notable is the inclusion of artists that will certainly have a few listeners searching on the net for any available information given the obscurity of what is largely on offer here. There is familiarity, however, to begin with and comes from reliable Andre Williams and on this occasion featuring The Don Juans during the track ‘Going Down To The Juana’. Despite the established name of Andre Williams, the song adheres to rhythm and blues yet pulls from Latin sources giving the song a light overall feel and one that sounds pared back. From such a bright beginning, the rest of the album continues to flourish with quality all the way from extremely rare doo wop via The Charmers with ‘The Mambo’, rhythm and blues exotica from the Calvaes and song ‘Anna Macora’ and once more with different number and equally fine ‘Mambo Fiesta’. Delving deeper into Latin-American flavours mixed with rock ‘n’ roll is Los Locos Del Ritmo and ‘Vengan Todos A Bailar’. The second volume ‘Vocal Group Harmonies – Let’s Go Latin Again’ is not only a rock and roll album with a difference, but one that contains much quality, not to mention plenty of obscurities that will keep any listener entertained for many weeks to come.

A compilation featuring the works of Mississippi resident Willie Dixon is not an everyday occurrence in the same vein as say, an Elvis, Gene or Eddie “Best Of” for example. That is not to suggest the name Willie Dixon was not as influential as the most well-known musical faces of the 50s because the talents of Willie Dixon stretched from vocalist, songwriter, and producer, in addition to being a renowned upright bass player. With the release of ‘Koko Mojo Songwriter Series: Willie Dixon’, the songs gathered for this latest album focus on Willie Dixon’s years with the Chicago-based record labels of Chess, Checker and Cobra, which proved highly successful periods in his life due to the high levels of creative output. Rather than focus directly on Willie Dixon performing his own compositions, with three being the number here, the album makes a lot of room for other musicians to join in and perform those songs written by the “songwriter” himself. Before delving into the performances of others however, Willie Dixon as part of the Big Three Trio really lays out the foundations for this album by beginning with no less than six tracks including detailed yarns (‘I Ain’t Gonna Be Your Monkey Man’), and instrumentals (’88 Boogie’). It makes for more than a good introduction before paving the way for Howlin’ Wolf (‘Rockin’ Daddy’), Little Walter and His Jukes with choice cut ‘Mellow Down Easy’, which is simply a terrific track, and Muddy Waters with ‘Tiger In Your Tank’. All these musicians surface again throughout the album, along with Bo Diddley who also features on a recent Koko Mojo release of the same series. Given the track list is set at twenty-eight songs, the album ‘Koko Mojo Songwriter Series: Willie Dixon’ provides a wealth of riches between its grooves and especially concerning the main musician, songwriter and producer at the centre of this record.

Given the quality of what has gone before in terms of album releases by Atomicat, you immediately get the feeling that you are in safe hands with each album release. The same feeling applies to latest compilation ‘Rockin’ Rollin’ Covers Vol. 3’, a series that sees a variety of artists from the 50s and early portion of the 60s attempting their hands at songs made famous by other, and often well-established artists of these same time periods. The results are often inspiring and more times than not worthwhile executions of songs made popular first time. As with many of Atomicat releases, the musicians featured are household names, but there are always plenty of interesting twists with equally as many lesser-known artists represented. Two names and tracks that immediately jump out from the playlist are Carl Perkins “piano” version of classic ‘Whole Lotta Shakin’ Goin’ On’, to another classic ‘Mystery Train’ originally by Little Junior Parker and then Elvis Presley jumping on board, before Vernon Taylor offering his version which, it must be said, is another terrific take on this excellent song.  By investing your hard-earned cash in this album, any listener will certainly receive their money’s worth because it is filled with quality tracks from LaVern Baker and superbly rockin’ ‘Hurtin’ Inside’, to Ted Daigle turning up the heat just like Eddie (Cochran) during ‘Cut Across Shorty’. There are beautiful vocal harmonies to be found via Donnie And The Dreamers’ ‘My Memories Of You’, wild antics especially in the guitars of ‘She, She, Little Sheila’ by The Darnells, and really rather different version and especially for the times in terms of its vocal delivery from Billy Ward And His Dominoes and song ‘Jennie Lee’. With a total of thirty tracks selected for your listening pleasure, and too much to cover in one review alone, let’s say that with the addition of Ernest Tubb And His Texas Troubadours, Jerry Demar (Listen out for those guitars folks!), Dee Dee Sharp, and Charlie Gore to name but a handful, it is clear that ‘Rockin’ Rollin’ Covers Vol. 3’ is a summary of cover versions from 1952 – 1963 yet contains more than enough details to keep any listener engaged. Absolute rockin’ greatness!