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Rhythm & Western Vol.10: Nine Pound Hammer

Various Artists

Koko Mojo

Trying out the saddle for the last time, before heading off into the sunset is the final volume in the album series Rhythm & Western. This being the tenth and last album focusing on a genre of music that is more often associated with white artists, The “Mojo” Man gives coverage to black artists who either tried their hands at country, or produced records that were deemed novelty or rhythm and blues but with country associations, the breakthrough, however, has often been in the minority. Providing some background of black musicians and country music, Rhythm & Western Vol.10: Nine Pound Hammer gets to work via a selection of songs beginning with King Curtis and ‘Beatnik Showdown’ with the “showdown” part no doubt being the country & western reference, to others including Washboard Sam and much used ‘Bucket’s Got A Hole In It’, and a few heartbreakers (often a staple of country) with examples including Pearl Galloway ‘Think It Over Baby’, Beulah Swan ‘Don’t Steal My Heart’, and Gloria Gunter ‘Move On Out’. Slim Gaillard produces ‘The Hip Cowboy’ and it’s a fascinating listen with some yodelling and Bob Wills’ “ah-haa” calls, then Johnny ‘Guitar’ Watson chips in with Hank Williams’ classic ‘Cold Cold Heart’. With crossovers including names as The Mississippi Sheiks conjuring up ‘Still I’m Travelling On’, Lloyd Price uniting rhythm and blues with strands of country during ‘Tennessee Waltz’, and Lou Rawls dropping the ‘Nine Pound Hammer’ in a spoken word/singing style and a country & western sound that is evident of its 60s period. An altogether different presentation (What else did you expect?!) is given by Screamin’ Jay Hawkins with ‘You Made Me Love You’; a big band, rhythm and blues track with flitting charismatic vocalisms blowing the roof off this particular shack otherwise known as Rhythm & Western Vol.10: Nine Pound Hammer.


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Rhythm & Western Vol. 9: You Are My Sunshine

Various Artists

Koko Mojo

Nearing its end is the album series Rhythm & Western on the Koko Mojo imprint. Sourcing another twenty-eight tracks for those with an interest in this series with a difference is The “Mojo” Man who provides a detailed observation of African-American musicians making excursions into country music, yet seemingly ignored for their efforts at the expense of white artists and the industry in general, with country music often perceived in the same manner today given the lack of black country artists. Attention given to the track list, then Rhythm & Western Vol. 9: You Are My Sunshine contains a mixture of straight country songs, others with strands of country running through them, to rhythm and blues, gospel, rock and roll, and references in general associated with the genre in song titles. Running from track one and featuring Pee Wee Crayton and appropriate for the album ‘Hillbilly Blues’, to last song spinning from The Black Hillbillies dating from as long ago as 1929, much consideration has been given to the songs featured here. The background work shines through with other tracks selected featuring Piano Red and his interpretation of Hank Williams’ ‘Hey Good Lookin’, something light-hearted from Bill Lacey with ‘Cowboy Santa Claus’, to weepy and thoroughly compelling ‘I Walked Away From The Wreck’ by Damita Jo. Richard Berry lightens the mood with excellent ‘It’s All Right’, as do female vocal group The Gingersnaps with ‘Bald Headed Papa’, before the mood changes, but gloriously so via another vocal group and this time The Robins with ‘(Now And Then There’s) A Fool Such As I’. Add to the rest of the album names such as Fats Domino, Nat King Cole, Lee Dorsey, Solomon Burke, Ivory Joe Hunter, and Volume 9 of Rhythm & Western is safely one of the best in the series.


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Rhythm & Western Vol. 8: Oh Lonesome Me

Various Artists

Koko Mojo

Appropriate really that you would eventually find room for the title Oh Lonesome Me when thinking of country music and some of its related associations of broken relationships set to a background of barren landscapes mirroring those empty feelings. Tasked with piecing all of this together is The “Mojo” Man who compiles twenty-eight tracks of African-American artists performing straight-up-country sounds or songs deemed as novelty with a strong country influence or hint of said genre at least. Back in the day, black musicians producing country music were either discouraged, or explained away as rhythm and blues because a white artist was not fronting the song. A similar scenario continues to this day because black musicians are still in the minority when it comes to country music. To provide some musical background here, latest collection Rhythm & Western Vol. 8: Oh Lonesome Me goes some way to addressing African-Americans involvement and influence when considering country music whether in song titles ‘Cherokee Boogie’, but presented in a style that is rhythm and blues from Bull Moose Jackson, to other songs of rock and roll emanating from the likes of Chuck Berry ‘Thirty Days’, Jimmy Parker ‘We Gonna’, Chris Kenner ‘Will You Be Mine’, and then rhythm and blues once more from Ruth McFadden and ‘My Baby’s Coming Home’. Vocal group The Olympics provide a rockin’ ‘Dooley’, whereas Sonny and Jaycee bring strong country flavour to ‘Mister Froggie’. The Swanee Quintet hint at a gospel sound and evoke the times with title ‘The Pilgrim’, and Eddie Ware’s ‘Lima Beans’ produces a similar feeling via its song title. Another round of Rhythm & Western that reaches number eight with Oh Lonesome Me where its contents will certainly not make you feel alone, more that you will be reaching for repeat play for the company once again.


Released 7 July

 

Rockin’ Rollin’ USA Volume 3 Canada

Various Artists

Pan American

It is time to get the motor running once more for another trip to Rockin’ Rollin’ USA. The latest ride from the Pan American label takes in another journey through Canada with rockabilly and rock ‘n’ roll performers who either made a name for themselves during the 50s and early 60s, or left behind a recorded work or two that went unnoticed only for the likes of Pan American to discover and give life to in the present. That’s the kind of album to expect with Rockin’ Rollin’ USA Volume 3 Canada and with the previous two excursions proving a success, there’s high hopes for this current volume. No connection whatsoever, Jim Morrison gets Volume 3 Canada off to a flying start with terrific ‘Ready To Rock’. The next few pitstops continue the rockin’ feel and with slight variations in tempo and styles with excellent Barry Boyd ‘You’re For Me’, The Showmen ‘Country Fool’, and vocal group The Willows and ‘Church Bells May Ring’. There’s rockabilly to rival many of the established names of the period with two sublime tracks in the shape of Dick Damron’s ‘Gonna Have A Party’, and The Rock-A-Tunes’ ‘You’re Some Kind of Nice’. During other stages of this car journey expect to hear some of the cutest country around with the Hachey Brothers and Mary Lou ‘Button Your Lip’, to an instrumental via Ken Davidson ‘Scotch Boogie’. Names of the time, and having appeared on other compilations include George Hamilton IV (‘If You Don’t Know’), Stoltz Brothers (‘Rock And Roll Riot’), Bernie Early (‘Your Kisses Kill Me’), and Janis Martin (‘Ooby Dooby’) making Rockin’ Rollin USA Volume 3 Canada more than a worthwhile acquisition for your record collection.


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Rockin’ Rollin’ USA Volume 2 Canada

Various Artists

Pan American

Start the car, it’s time to go! Destination? Well, that’s easy, Rockin’ Rollin’ USA Volume 2 Canada. Various artists come together to take-up their allocated slot for the second volume in the revived series issued by Pan American. A fresh outlook of a former album series that was successful and now compiled by DeeJay Mark Armstrong and with artwork supplied by Henrique Sans, Rockin’ Rollin’ USA Volume 2 features another twenty-eight tracks from the years 1956 – 1963. With song selections chosen from regional and major record labels, there’s much to enthuse over when it comes to the featured country of Canada and the rockabilly and rock ‘n’ roll that was imitating the fast-emerging sounds elsewhere in America. This being a second visit to Canada, the “Teenage Boogie” of its additional title is highlighted greatly during ‘Eeny-Meeny Miney Moe’ from Bob and Lucille, which gets this album off to a flyer with a rhythm that certainly rocks and lyrics that really tune into a burgeoning independent teenage culture. The fine music continues via homegrown feel of rockabilly ‘Vibratin’ by Keray Regan, and a female rocker from Myrna Lorrie and track ‘Hello Baby’. The rockabilly continues with Al Oster and ‘Midnight Sun Rock’, before switching to callout rock ‘n’ roll number ‘Arkansas Jane’ from The Millionaires, before The Canadian Sweethearts provide the musical equivalent of the ‘Freight Train’, a song that would have easily been at home with the Everly Brothers as well. Whether you fancy a different interpretation of Dale Hawkins’ ‘Susie-Q’ by vocal group The Crew Cuts, to rockin’ rhythm of Frank Rondell and ‘Your True Love’, there are plenty of musical treats to stave off the boredom of any long road trip with Rockin’ Rollin’ USA Volume 2 Canada.


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Rockin’ Rollin’ USA Volume 1 Canada

Various Artists

Pan American

Reviving the Pan American label with a fresh series of albums and replacing the outdated imagery with more tasteful exterior via the creative input of Henrique Sans, DeeJay Mark Armstrong sources material from the years 1955 through to 1963 for Rockin’ Rollin’ USA Volume 1. The first destination is Canada and features twenty-eight songs taken from regional and major labels and with reference to any local heroes from the featured (in this instance) country of Canada, North America, regardless of whether the local heroes remained or departed to pastures new. Beginning the album’s journey with The Asteroids’ ‘Shhhhhhh Blast Off’ a light(ish) rocker stemming from the jukebox of the local diner, before going on its way through a lively and red-hot guitar ‘Oh What Love Is’ (Jack Bailey), Ted Daigle chipping in with Johnny Cash-esque ‘Tennessee’, and a song composed by Carl Perkins, to other worthwhile mentions including Cliffy and Jerry with ‘Looking For My Baby’, The Stripes’ ‘Hot Rod’, the established Hank Snow and country ‘Loose Talk’, and Reg Smith with Canadian rockabilly, ‘Rock & Roll Lullaby’. There’s always room for a bit of Jack Scott as far as this publication is concerned and the rockabilly/rocker provides excellent ‘Two Timin’ Woman’, before giving way to one of the few hits Bernie Early (See our interview section, FLW) became known for ‘Rock Doll’, The Del-Tones’ ‘Rockin’ Blues’, and another from Jack Bailey with ‘Tiger Lil’. A very interesting first excursion with Rockin’ Rollin’ USA Volume 1, which provides plenty of details of a steadily burgeoning rockabilly and rock ‘n’ roll scene in North America and, specifically, Canada that will be welcomed by many newcomers as well as those with plenty or records in their collections.


Released 9 June

 

More Boss Black Rockers Vol. 10: Lonely Lonely Train

Various Artists

Koko Mojo

End of the line for the album series More Boss Black Rockers. The final resting station for More Boss Black Rockers is Lonely Lonely Train, and sees another twenty-eight tracks sourced from a mammoth catalogue of tracks with the focus on African-Americans who made rock ‘n’ roll their own. A history lesson, and an album series that has packed a musical punch to date, first impressions of Volume Ten appears to remain on course with many rockin’ delights. Beginning with the Speciality release ‘Hickory Dickory Dock’ from Big Boy Myles indicates the transition from traditional rhythm and blues to rock ‘n’ roll where you can hear the former genre’s foundations in this early rock ‘n’ roller. Earlier still is ‘Ain’t Nothin’ Happenin’ from Little Richard, which is an interesting inclusion from an artist in his formative years before going on to become the wild rocker and highly influential star. As with previous volumes of More Boss Black Rockers, there’s plenty of intrigue with the inclusion of lesserknown artists and songs of musicians who never really got the breaks during the 50s or if they did, it was only fleetingly so. When it comes to the founding of rock ‘n’ roll, it was the black musicians of the 50s who first developed this genre of music and continued its journey, only for their white counterparts to claim all the glory with plenty of exposure and hit records and thus creating a false impression that rock ‘n’ roll was developed by white rock ‘n’ rollers. Thankfully, More Boss Black Rockers has gone someway to addressing the balance and, in doing so, providing a platform for the likes of Roy Tann (‘I Don’t Like It’), Roosevelt Grier (‘Struttin’ and Twistin’), El Pauling & Royal Abbit (‘Please, Please, Be Mine’), and The Five Masks (‘Polly Molly’) to showcase their efforts to a wider audience and provide clear examples of the real originators of rock ‘n’ roll music.


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More Boss Black Rockers Vol. 9: Hey Doll Baby

Various Artists

Koko Mojo

The countdown begins as we near the end of the album series More Boss Black Rockers. With this being the penultimate album therefore, Volume Nine of this consistently great album series allows access for all willing listeners a chance to hear music from America’s golden age, namely the 50s with a few additions from the early part of the 60s, but, more specifically, the beginning of rock ‘n’ roll. Charting rock ‘n’ roll’s rise is current record Hey Baby Doll with another twenty-eight tracks for your enjoyment. Starting in fine rock ‘n’ roll style with K.C. Mojo Watson and track ‘Love Blood Hound’, Hey Baby Doll consists of a few artists who’ve made appearances on previous albums. Step forward Big Joe Turner with ‘I Need A Girl’ that is an excellent stroller, to other well knowns but inspiring choices in Jackie Wilson and ‘Come Back To Me’, Fats Domino ‘Little Mary’, Esquerita with milder yet terrific ‘Laid Off’, to Huey “Piano” Smith’s ‘Little Chickie Wah Wah’, and another from Pork Chops with ‘I Wanna See My Lovin’ Baby’. There are vocal harmonies present and arrive via The Clovers’ title track, The Cues’ ‘Why’, and fresh to these ears The Ensenators velvet tones of ‘I Had A Little Too Much’. Guitar Jnr. ‘The Hoss’ is an interesting addition with its vocal and guitar certainly the stars here. Further vocal harmonies arrive via The Hollywood Flames’ ‘Much Too Much’, which is the perfect description for this album and series in general because the scope of artists and rarities is wide and, occasionally, overwhelming (A positive folks!)  due to the amount of tracks to consume. Certainly a bargain for one’s hard-earned cash with more than enough rock ‘n’ roll to last a lifetime, More Boss Black Rockers Vol. 9: Hey Doll Baby is another triumph of an album.


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More Boss Black Rockers Vol. 8: Rock & Roll Baby

Various Artists

Koko Mojo

With an abundance of records to sift through and select a fresh batch of tracks for the latest volume in the series More Boss Black Rockers, the job is an enviable one considering this is the dawn of rock ‘n’ roll. Latest album Rock & Roll Baby showcases a further twenty-eight songs from African-American performers who learnt their trade via rhythm and blues, before some of these musicians turned their attention to something a tad wilder with the development of rock ‘n’ roll. A real rockin’ body of work is what to expect, and something listeners have become accustomed to with the album series More Boss Black Rockers because each volume has provided an insight of black musicians who never really got the recognition they deserved during the 50s and early 60s. That is not to say that More Boss Black Rockers has not been without established names because the likes of Little Richard, Chuck Berry, Fats Domino et al have all been present. However, it is often the obscurer artists that provides a genuine edge to these albums by creating a genuine sense of curiosity, and history lesson that is unrivalled. Evidence of this can be heard during album opener ‘Chicken Little’ from hardly a household name Ravon Darnell. It’s an excellent choice to begin with, and features a solid vocal, great saxophone, and plenty of piano pounding. Continuing such great work are the inclusions of Jackie Brenston ‘Trouble Up The Road’, Roy Brown ‘Shake Em Up Baby’, Elmer Parker ‘You Know I Love You’, and two vocal groups with The Jewels’ ‘She’s A Flirt’, and next Kripp Johnson and Chuck Jackson with ‘Woke Up This Morning’. Add to the pile the charismatic presentation of ‘Lone Ranger Gonna Git Married’ supplied by Jimmy Johnson, Big Bob Kornegay gliding through the rhythm of ‘Humdinger, and a rockin’ ‘Teenage Sister’ by Jimmy Lewis, and More Boss Black Rockers Vol. 8: Rock & Roll Baby is all you really need right now.


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More Boss Black Rockers Vol. 7: Bim Bam Boom

Various Artists

Koko Mojo

Much steam has gathered under this latest and follow-up series to Boss Black Rockers with the additional word added to its title of latest volumes More Boss Black Rockers. Current album, Bim Bam Boom, marks the seventh volume of black artists who laid the groundwork with rhythm and blues, and then started what became known as rock ‘n’ roll. More Boss Black Rockers pays tribute to those African-American artists by showcasing their musical exploits of the 50s and early 60s when the majority of audiences were likely under the impression it was all down to the white rock ‘n’ rollers for creating what we now know as rock ‘n’ roll. Diving straight in, Volume Seven of More Boss Black Rockers: Bim Bam Boom, the golden era of music in the US shines brightly from the songs selected here. Nowhere is this more evident than the rockin’ introduction of Willie King and ‘Peg Leg Woman’, before continuing along a lengthy list of great tunes (too many to list here) including Sandra Grimms contribution ‘Hallelujah Rock and Roll’ that is top-heavy rhythm and blues with sprinkling of rock ‘n’ roll, to wild shuffling rhythm of Chuck Higgins’ ‘Looking For My Baby’, before mixing up the pack with more polished ‘Ta Ta’ by Clyde McPhatter, and then getting all fired up again through Junior Wells’ ‘Can’t Live Without You Baby’, Jimmy Breedlove with ‘Oo-Weee, Good Gosh A-Mighty’, and Little Richard providing ‘He Got What He Wanted’. There’s even a professor (Professor Longhair)  on board to offer some advice with rock ‘n’ roll ‘In The Night’ and further proof that the beginnings, and developments of rock ‘n’ roll really did start with the black musicians of the 50s and early 60s as evidenced by More Boss Black Rockers Vol.7: Bim Bam Boom.


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More Boss Black Rockers Vol. 6: Everything’s Cool

Various Artists

Koko Mojo

After the success of the first five volumes in the follow up album series to Boss Black Rockers, the next album to surface is More Boss Black Rockers Vol. 6: Everything’s Cool. Giving focus to what is a very important part of rock ‘n’ roll’s history, and one neglected at the expense of white rock ‘n’ rollers, is told here via numerous Afro-American rock ‘n’ roll artists of the 50s and early 60s. Presented in environmentally friendly packaging and with Little Victor Mac (The “Mojo” Man) responsible for the songs selected, Volume Six of More Boss Rockers lives up to its additional title of (Everything’s Cool) from the off with the very cool and up-tempo rhythm and blues goes rock ‘n’ roll ‘Oooh-Wow!’ from vocally loud Roy Montrell. Turning down the volume a notch to something midtempo with plenty of great qualities from its guitar to the vocals of ‘Air Travel’ supplied by Ray and Bob follows, only for Esquerita to shift the dial in the opposite direction by increasing the volume once again via ‘Believe Me When I Say Rock And Roll Is Here To Stay’. Enthralling beginnings leads to more captivating moments arriving thick and fast and, in no particular order, through Bobby Dunn’s ‘Diddle Dee Dee’, Chuck Higgins’ ‘Too Smart’, Aggie Dukes’ ‘John John’, Little Joe Hinton and ‘The Whip Twist’, to Pork Chops’ lead track ‘Everything’s Cool’. More of this and a whole lot more, Volume Six of More Boss Black Rockers will have the listener coming back for more given the high calibre of rock ‘n’ roll on display and for the history lesson this compilation provides.


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The Rockin’ Spot Volume Five: Audrey

Various Artists

Atomicat

Back on track for its fifth and final album is The Rockin’ Spot Volume 5: Audrey from Atomicat. Presenting another twenty-eight songs from the “living end” of rock ‘n’ roll, rockabilly, and rhythm and blues, Volume Five gives the final words to Audrey and allows the listener to bathe in a selection of sounds from the years 1952 to 1961. The last in the album series begins with one example that would define classic 50s rock ‘n’ roll with an undercurrent of rockabilly from Buddy Covelle and song, ‘Lorraine’. After such a fine beginning, The Rockin’ Spot Volume 5: Audrey continues its ascent via more fine songs including the melding of rhythm and blues/rock ‘n’ roll of ‘Do The Rock And Roll’ from cool moniker that is Fox Hall, to Johnny Jano and ‘Mabel’s Gone, and expressive ‘Crazy Man’ from the vocals of Ben Hughes. With Atomicat’s dedication to providing less featured individuals when it comes to these sorts of compilations, then its refreshing to hear the likes of Shortie Billups (‘Boss Chick’), Chip Fisher (‘Oh-Ye-Louise’), The Dawn Breakers (‘Boy With The Be-Bop Glasses’), The Colonairs (‘Sandy’), and Collay (‘Little Girl Next Door’). Also pleasing is the slightly higher amount than previous releases of reliable and rockin’ inclusions featuring Eddie Bond (‘Boppin’ Bonnie’), Sonny Fisher (‘Sneaky Pete’), Jack Scott (‘Geraldine’), Conway Twitty (‘Hey Little Lucy!), Varetta Dillard (‘Promise Mr. Thomas’), and Mac Curtis (‘Little Miss Linda’) to cite but a few. With Billy Lehman providing the main track for this final instalment in this series, then Atomicat ends what has been a marvellous collection of albums on another highnote with great quality, and certainly more familiarity in terms of the artists featured, therefore demonstrating the record label is enjoying itself, and rightly so!



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