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.

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.

Moving swiftly on is the latest addition to the brand-new album series Sin On Saturday, Pray On Sunday Vol. 2 issued by the house of Koko Mojo. With a variety of artists providing the musical goods, Sin On Saturday, Pray On Sunday Vol. 2 is a record of two halves comprising of songs fit for a celebratory night out, and the next mopping up any regrets by asking for forgiveness the day after. Expect, therefore, plenty of blues, rhythm and blues, jump blues and gospel numbers to meet the criteria laid out by this album collection. Housed in a trifold digipak with details of all those involved included inside, the track list holds musicians that will be familiar to many with an interest in blues, and rhythm and blues, but also likely there will be plenty of names that spring surprises and offer something different to albums of a similar nature. Such examples plucked from the twenty-eight tracks on offer can be found in the likes of blues track ‘I’m Tired Of Waitin’ Baby’ by Lightnin’ Slim, Sister Rosetta Tharpe ‘Everybody’s Gonna Have A Wonderful Time Up There’, harp maestro himself Little Walter with ‘I Just Keep Lovin’ Her’, which additionally features his vocals, to Rudy Green and ‘Teeny Weeny Baby’, and no guessing which side of the weekend Jimmy Rogers’ ‘Sloppy Drunk’ features, before seeking redemption via Soul Stirrers’ ‘Sinner Run To Jesus’ to list but a few examples. Other points of interest can be heard in the less featured additions of Wright Holmes and ‘Good Road Blues’ plucked straight from the distant past of 1948, to remember by name and remember by song by Radio Four ‘How Much I Owe’ which is a guitar strumming gospel number, and then not to be fooled by the song title ‘Screaming And Crying’ because this is most definitely one for Saturday night and relationship woes presented in excellent fashion by Morris Pejoe. Another winner from Koko Mojo that deserves to be heard because you will not leave this house disappointed after celebrating, and then having those sins cleansed the day after via volume two of Sin On Saturday, Pray On Sunday.

This New Year Atomicat has been extremely generous by offering a host of new album series, with the current being “A-Rama” in its titles. So far, we have been exposed to everything from duets to boogie woogie to songs fit for late-night clubs offering burlesque. This time the focus is set to “swing” with the official title Swing-A-Rama Volume 1. Containing much for the dancehalls, and keep all associated Dee Jays busy for evenings of entertainment ahead, twenty-eight tracks are selected that meet the criteria for this specific focus on songs that swing! Cab Calloway is given the opportunity to start this new volume, and he does so in some fashion with thoroughly charismatic and big band accompaniment of well-known ‘Minnie The Moocher’. Resuming the big band sound is Glenn Miller with thrill-a-minute ‘King Porter Stomp’ (1938). Other historical titles lifted from the same era come from light on its feet rhythm of ‘Non-Stop Flight’ from Artie Shaw, to first experience of classy-sounding in both name and composition Hot Club De France and ‘Swinging With Jango’. The same unit make a second appearance, later in the compilation, with another fine composition in fiddle-driven ‘Hot Lips’. There is much class associated with this latest album from Atomicat with prime examples from Butch Stone (‘Baby Face’), Chick Webb (‘The Dipsy Doodle’), Fletcher Henderson & Chuck Richards (‘If You Ever Should Leave’), Louis Prima (‘It’s The Rhythm In Me’), and Lena Horne with sumptuous vocals during ‘Deed I Do’. It’s music for vintage cinema and reminiscent of times when culture and all its associated fashions were different and possessed much class. At least such experiences can be imagined through the music of the 1930s – 1960s, and sourced for your enjoyment throughout Volume 1 of Swing-A-Rama.

Focusing their attention on the talented songwriters of the 50s period via the “Songwriter Series”, Koko Mojo releases another album with Lincoln Chase. A product of Harlem, New York, Lincoln Chase was not only a prolific songwriter, but also fronted many of his own songs during the 50s, and early part of the 60s. Such songs can be heard throughout Koko Mojo Songwriter Series: Lincoln Chase – Fancy Dance, which highlights both his song writing and vocals, in addition to various artists performing as well. Chronologically told, the story begins in 1953 here, and concludes ten years later in 1963. To begin, it is the composer himself, Lincoln Chase, who starts with ‘The Vulture Song’ issued via RCA Victor. The song itself makes for a fascinating beginning and very unusual for the time it was released, given its dark imagery and slightly overwrought performance bringing to mind Screamin’ Jay Hawkins for example, and therefore posing the question, was the latter artist influenced by Lincoln Chase? With other examples provided by Lincoln Chase as ‘That’s All I Need’, which reveals a more conventional vocal, but his voice was not his strongest asset, despite offering plenty of twists and turns in his performances and thus still maintaining interest. Spread out over twenty-eight tracks album however, prior knowledge of Lincoln Chase was sketchy but Koko Mojo goes someway to address the balance with many examples of the songwriter’s achievements during the already stated years. Notable inclusions are The Orioles ‘Fair Exchange’, LaVern Baker ‘Jim Dandy Got Married’, Ruth Brown ‘Please Don’t Freeze’, Red Foley ‘Blues In My Red Wagon Blues’, and Roy Hamilton ‘To The One I Love’ to name but a selection from a very engaging list. What a discovery Koko Mojo Songwriter Series: Lincoln Chase – Fancy Dance proves to be, which, since playback, has led to further investigations revealing songs and performances of intrigue and experimentation during the songwriter’s later years. A fascinating, and highly creative talent from the musical vaults of history is one Lincoln Chase.

Just as we “move on” from previous album in the Rhythm & Western series, it’s time to rest up and relax for a moment and sample some “Jambalaya” with Volume 7. Focusing on black artists performing country & western music with Rhythm & Western Volume 7: Jambalaya makes for an interesting concept given that country music even today is still largely associated with white artists. With the term country music coined in the 40s because the term “hillbilly music” was deemed unacceptable, black musicians turning their attention to the genre were often associated with blues and rhythm and blues. Therefore, the results of this album series provide much variety, with plenty of rhythm and blues coming to the fore but with noticeable influences of country & western, or early 60s country ballads and greater commercial sounds also explored. There are plenty of established musicians and performers throughout Volume 7, featuring the likes of Nat King Cole and song ‘Wolverton Mountain’, to Solomon Burke ‘I Almost Lost My Mind’, Rosco Gordon ‘Sally Joe’, and The Platters’ ‘Sixteen Tons’. The title track is bestowed to Titus Turner and it’s a real melange of rhythm and blues and jazz influences, with much improvisation by way of the guitars and brass instruments. Attention draws towards Screaming Jay Hawkins with his unconventional vocal toned down a little for ‘Take Me Back To My Boots And Saddle’ adding that “extra” spice to the more standard and polished sounds, but still highly recommended inclusions of Johnny Thunder’s ‘Don’t Be Ashamed’, and energetic turn from Sam & Dave’s ‘Keep A Walkin’. Previously mentioned Solomon Burke’s ‘I Almost Lost My Mind’ is worth the price of the admission alone, drawing upon country & western influences, especially with the backing vocals, in addition to the lead vocal sounding thoroughly convincing in terms of its portrayal. Add to that gospel numbers Rev Gatemouth Brown & His Gospel Singers (‘Glory, Glory’), and Buster Brown with ‘Raise A Ruckus Tonight’, which can be interpreted in a number of ways. The closing songs featuring Brook Benton (‘Crazy In Love With You’), The Platters’ ‘Sixteen Tons’, and blues influence as far as the presentation of its words is concerned wrapped inside a country tune and (for our money) the standout track from Percy Marshall with ‘Leaving Town’. Consistently stronger than its predecessor, and a likely reason due to taking a well-earned rest, Rhythm & Western Volume 7: Jambalaya provides a few more examples of black artists turning their attention to country music and producing positive results.