It’s Christmas time at Koko Mojo and what better way to celebrate than a Christmas album with a difference. That is the intention of The “Mojo” Man who presents: ‘Let’s Have A Funny Little Christmas’ by selecting a whole roster of Christmas songs with a difference for those listeners tired with the same old compilation albums at this special time of year. With a respectable number of tracks making up this festive album (Twenty-eight to be exact), the album ‘Let’s Have A Funny Little Christmas’ focuses on novelty when it comes to its Christmas selections. Lifting one’s spirits, therefore, in time for the festive season are the likes of rockin’ ‘Jingle Rock’ by Tommy Lee & The Orbits, even wilder Little Joey Farr and ‘Rock ‘N’ Roll Santa’ and also adding The Four Imperials and notion that ‘Santa’s Got A Coupe De Ville’ rather than his usual method of travel by sleigh. From what can be described as perhaps more straight rock ‘n’ roll songs, the album takes a very interesting turn and guaranteed to raise a smile via examples from what every person desires at Christmas, ‘I Want A Hippopotamus For Christmas’ from the vocals of Gayla Peevey, to what many feel at Christmas during spoken-word track ‘I Just Go Nuts At Christmas’ by household name (!) Yogi Yorgesson. Certainly, in vogue now, the always dependable for providing laughs comes tracks from inventive Stan Freburg ‘The Night Before Christmas’ and ‘Christmas Dragnet’ with Daws Butler & Orchestra featuring during the latter. If you thought those were the highlights and major oddities in the pack, then think again because the novelty goodies just keep on coming with standout performers Ray Stevens’ jittery and highly compelling ‘Santa Claus Is Watching You’, to clearly ahead of their time with first  Edd “Kookie” Byrnes’ ‘Yulesville’ revealing early signs of rap music if you listen closely to the presentation of its words, to cut-and-paste deejay radio edit of mind-blowing Mad Milo ‘Elvis For Xmas’. A wonderful, wonderful album that lives up to its billing of providing a Christmas with a difference.

It has been something of a journey with ten albums in total beginning with Commandment number One, right through to the final commandment and that being Commandment number Ten. The album series that has been ‘The Ten Commandments Of Rock ‘N’ Roll’ features for the tenth and final time another goodie bag of rockabilly, rock ‘n’ roll and rhythm and blues. With track selection left in the expert hands of Dee Jay Mark Armstrong, ‘The Ten Commandments Of Rock ‘N’ Roll – Commandment Ten’ features thirty tracks that fall in line with the latter segment of the album’s heading by failing to agree to “Shun Immoral Behaviour,” and rather that these wild rockers have only one intention and that is, “We’ll Raise A Ruckus Tonight”. Expect, therefore, songs that walk the wilder side of life where parties are in full swing, and people are having an enjoyable time. First indication of such actions comes from the rather rough source of recording, but you get the general idea of Dial Tones and ‘Rock All Night’. A compelling entrance from Dorothea Fleming and The Danny Small Orchestra suggests a song full of drama as its title indicates, and this wonderful song certainly lives up to its early billing via fine rhythm and blues and vocals that truly sell this song. Wonderful! The vocal performance of Paula Watson during rhythm and blues of ‘I Love To Ride’ is something to admire and another example where you may find yourself scratching your head and wondering where has all the imagination and talent gone in the current climate? That said, who cares when you are left with further great examples presented by Jimmy Liggins and His Drops Of Joy with ‘Nite Life Boogie’, a touch of rockabilly from Sparkle Moore and accompanied by Dan Belloc and His Orchestra during excellent ‘Skull & Crossbones’, to late-night country ‘Cigarettes, Whusky, and Wild, Wild Women’; a song filled with joy and then regrets and worth the admission fee alone for its pronunciations of the words of its title. Simply not enough room to write about all the greatness of this tenth and final album because ‘The Ten Commandments Of Rock ‘N’ Roll – Commandment Ten’ saves the best until last and that is high praise indeed.

What was initially thought a two-album series, Volume 3 of ‘Whip Masters Instrumentals’ arrives in a very stylish colour scheme consisting of blue, black and white of its cover design. Given the slight delay since the second volume in the series, ‘Whip Masters Instrumentals Volume 3’ is most welcome given its emphasis on “instrumentals” only, albeit with occasional use of vocals, and therefore providing a different focus in relation to the rest of what’s on offer to review this month. Focusing on the tracks featured, Volume 3 begins with an absolute belter in the form of surf rocker ‘Moon Dawg!’ by Gamblers riding a wave of electric guitars, thumping piano and (whisper it) fleeting harmonised backing vocals. Jumping from this wave and onto the next one is the band with a moniker which sounds befitting of a rap artist rather than an instrumental band and that is Li’l Dynamite and The Explosions with ‘Dancin’ Little Thing’, which is a moody guitar piece and rather ace! The next stop is an altogether different composition supplied by The Aristocrats with ‘F.S.T’ and is a cultured combination of blues and jazz. Living up to its earlier volumes, the latest album continues its exploration of instrumental tracks with a difference as indicated by the straight outta Poison Ivy and Lux Interior’s box of record goodies, no doubt, with The Creeps’ ‘The Whip’; an imaginative track with twisted humour and fit for any Halloween compilation. The record goodness continues apace with The Surfaris’ surf jam ‘Jack The Ripper’ complete with compelling sections of misshapen guitar sounds for your listening pleasure, before increasing the tension further with something of a “horror” theme connection linking The Gravestone Four’s ‘Rigor Mortis’ and followed with The Crystals’ ‘Vampire’. If you are looking for a mean and moody soundtrack, then you have arrived at the right place with ‘Whip Masters Instrumentals Volume 3’, which just happens to be the best in its class so far.

Seeking affection is The Kokomo Kings via their new long player ‘A Drive-By Love Affair’.  Featuring great artwork and twelve new songs to peruse over, the album title suggests a more carefree attitude and with the band in something of a mischievous mood given the album’s front cover. Opening the contents, the music reveals itself to be raw and often roomy in terms of its presentations of rockin’ blues that dominates the majority of tracks present. Songs either rattle on hinges and swing in the breeze or are incendiary in their delivery like ‘The Wonder Man’; a rattle & roll burning blues number complete with slide guitar and it’s really rather terrific! ‘The Smile Of A Shark’ is Chuck Berry-esque in its delivery of rock ‘n’ roll blues and natty lyrics. ‘A Million Stars’ is the kind of track that would appeal to the likes of the Rolling Stones (Think this has been mentioned before concerning an earlier Kokomo Kings album, therefore suggesting a supporter in the camp) with its straight-ahead, no-nonsense double barrel of rock ‘n’ roll blues where feet will definitely be tapping. From there, sister song ‘Too Late To Grow Up’ reveals the band’s humorous side and their ability to not take themselves too seriously, not that the song is in anyway a throwaway number, more like a companion piece to the aforementioned ‘A Million Stars’. ‘Jump Like A Chicken’ is as jittery sounding as its title suggests and an excellent combination of blues and rockabilly. The closing, ‘Drinking Fire And Eating The Ash’ reveals itself to be a huge curiosity given its seriously raw presentation and sense of never-ending rhythm and words that leave one to ponder that someone or something has completely given up. Never ones to disappoint, The Kokomo Kings produce an album of strong compositions in ‘A Drive-By Love Affair’ with much to consider from its department of lyrics that will find you coming back for more given its rich overall feel.

CD two giving further coverage to the harmonica and another serious workout is the album ‘Wolf Pack’. Great artwork imagery leads one to the contents containing twenty-eight tracks of mainly blues material. There’s red-hot harmonica in abundance with, leading the way, Walter Horton and ‘Have A Good Time’, and then followed by Sonny And Jaycee ‘You Keep Dogging Me’ and Jesse Perkins and The Bad Boys ‘One More Kiss’. From there, the music continues its feisty streak with Drifting Slim and ‘My Sweet Woman’, Harper-Brinson Band with ‘Harpers Return’, Lightnin’ Slim’s ‘Rooster Blues’, and Billy Bland with ‘Chicken Hop’. Adding variation to the up-tempo numbers can be found during one of the album’s highlights that is Willie B. and nearly drifting off to sleep ‘This I Gotta See’; a song full of originality with its dreamlike qualities making it utterly essential listening. Further variation is heard via wonderful ramshackle presentation of ‘Stack Of Dollars’ from Joe Williams, before welcoming some traditional rhythm and blues during ‘I Ain’t Got No Money’ with Billy (Boy) Arnold providing compelling narration throughout. Honour of the title track is bestowed to Kid Thomas, and there are serious guitar and harmonica workouts from back-to-back songs Whispering Smith ‘Live Jive’ and Eddie Taylor ‘You’ll Always Have A Home’. There may be some familiarity here, but there is certainly plenty of less familiar tunes to make ‘Wolf Pack’ an essential purchase for those who love a bit of the blues.

Part two of what is all ready shaping up to be an extremely fascinating series is the “new one” on Atomicat Records, ‘Rockin’ Rollin’ Covers’. By focusing on musical talent outside of Europe and specifically turning its attention to the countries of America and Australia with a little bit of New Zealand filtered in, the compilation ‘Rockin’ Rollin’ Covers Vol.2’ does exactly what is says on the tin and provides a plethora of tracks that made the grade back in the day and, since that initial breakthrough, a succession of artists tried their hands at covering these original hit songs. Expect plenty of rockabilly, rock ‘n’ roll and some rhythm and blues from the USA and land of OZ. With rockers as Delbert Barker opening this album’s account with an excellent version of ‘Blue Suede Shoes’; a song made famous by Elvis and written and first recorded by rockabilly maestro Carl Perkins, Barker’s version has more in tune with the song’s originator and it is an impressive cover. Another rockin’ number arrives in the shape of ‘Life Begins At 4’O Clock’ covered by Ronnie Diamond, and later similar feats are recreated by Jim Lowe with really fine ‘Rock-A-Chicka’. Impressing elsewhere are the likes of Rusty Draper with a slightly cleaner version of Sammy Masters rockabilly classic ‘Pink Cadillac’, to originally performed by Cab Calloway and His Orchestra ‘Minnie The Moocher’ given over to Barry Martin on this occasion who is equal to the task by offering the correct definition of a true cover song. With much on offer, namely rhythm and blues meeting of rock ‘n’ roll that is The Mike Pedicin Quintet performing ‘Shake A Hand!’, one of SUN Record’s recording artists Ray Smith chipping in with ‘Little Miss Blue’, and a cover of Little Richard classic ‘Tutti Frutti’ from The Jesters who bring their own qualities. Every bit as good as the first album, and with plenty to enthuse over is the album ‘Rockin’ Rollin’ Covers Vol.2’ that hollers, “Go grab yourself a copy now!”.