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.

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.

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.

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.

Next up in the current album series from Atomicat is The Rockin’ Spot Volume Four: Cheryl. Lining up a track list of twenty-eight songs, Volume Four opens its account with a knock at the front door from Jeanie Dell and ‘Hey Willy’. By opening said front door paves the way for the rest of the contents of this collection of numerous songs from the “living end” of rock ‘n’ roll, rockabilly, and rhythm and blues. Taking in the years 1955 – 1963, there’s noticeable variety between the tracks, and nowhere better to continue than the detailed presentation of The Maharajahs’ ‘Sweet Loretta’, Rudy Greene’s lively and rockin’ ‘Juicy Fruit’, to should’ve been a contender to the crown of rock ‘n’ roll Billy Riley and song ‘Pearly Lee’, and something altogether calmer from The Gaye Sisters and ‘Oh Ricky’. The variety continues and certainly makes for an absorbing listen whether it’s the influence of rhythm and blues driving the rock ‘n’ roll of excellent ‘Dime Store Pony Tail’ from Bobby Dean, to an instrumental from the hands of The Dick Poulton Trio with ‘Oh Susie’, great vocals from The Invictas and song ‘Nellie’, and likewise the additions of Cliff Nash and rockin’ ‘Jennie Lou’, and The Elgins with title track ‘Cheryl’. Further delightful nuggets can be unearthed via Dave Day ‘Jelly Billy’, Bobby Darin ‘Pity Miss Kitty’, Benny Ingram ‘Jello Sal’, and Tee Tucker ‘Rock & Roll Machine’. Overall, another fantastic collection of rock ‘n’ roll songs.

Visiting The Rockin’ Spot once more for Volume Two, and this time in the name of “Louise”, sees the latest compilation issue more rockin’ delights from the fields of rockabilly, rock ‘n’ roll, and rhythm and blues. Given Volume One was an absolute delight, there’s great anticipation for this latest collection in the hope that it lives up to its predecessor. With twenty-eight tracks to choose from, and in no particular order, the jury decides to plunge for the centre of this album and first up is The Sonics’ ‘Marlene’. It proves worthwhile given its raw edges of rock ‘n’ roll and thus leads to further choices within touching distance including excellent and moody spin from Benny Joy and ‘Steady With Betty’, sax-generated rock ‘n’ roll from The Novatones and ‘Mary Lee’, to familiar to many Chuck Berry and his version of ‘Rip It Up’, which is often associated with Little Richard and ditto the song ‘Good Golly Miss Molly’ this time provided by The Valiants. Less familiar however, given these types of collections is the name which sounds like the author of a prizewinning novel Ulysses J. Hemingworth II and song ‘Whoa Louise’. Lending part of its song title to the subheading of this album, Ulysses does not disappoint as he charismatically informs the listener of his relationship woes. Continually glued to the centre of this album given the quality of tracks expressed thus far, there’s simply no movement from this position when further curiosities as Lee Craig and ‘IFIC Is The Word’ pop up and then followed by more established artists Little Willie John (‘Dinner Date’), Andy Anderson (‘Johnny Valentine’), The Hi-Tombs’ ‘Sweet Rockin’ Mama’, and distinction of the title track, ‘Louise’, accorded to Ralph Pruitt. Another excellent collection arrives with The Rockin’ Spot Volume Two: Louise where its centre is certainly filled with rockin’ delights, but once ventured outside, the rest of the album’s contents also prove a thrilling ride!