Gazing down the setlist for the upcoming festivities this album is aimed at, Atomicat Records has done its homework. There is also the added bonus of this album not simply being a one-off party occasion. Despite its clear as day title, the album, ‘Atomicat Hootenanny’ is a means to get that party started at the end of the year with tracks specifically associated with New Year’s partying in mind, there is enough material here where songs lend their qualities to any occasion. From Mark Armstrong at the helm directing this party and Atomicat giving itself top billing for this “Hootenanny”, the splendidly designed tri-digipak design and layout is a thing of beauty with the songs equally living up to the initial impressions of its complete artwork. Whether you’re experiencing heartbreak or joy at this time of year, then there are songs that will hopefully alleviate any sorrow and plenty to further the pleasure already felt by those in an existing upbeat mood. With a full range to choose from whether rock ‘n’ roll, rockabilly, traditional rhythm and blues, jump blues, strollers, and instrumentals, ‘Atomicat Hootenanny’ has got everything. There is no better place to start than with the alcohol-induced rockabilly number ‘Drinkin’ Wine’ from Gene Simmons, which provides a nice starter before the main proceedings gets underway. Eddie Carroll and song ‘I’ve Got It Made’ certainly lifts the spirits further with characteristic vocals and even more noticeable lead guitar that stings when it wants to! From such a strong position, the party continues to gather apace with excellent ‘Gee Whiz Liz’ from Charles Senns which has a touch of Sonny Burgess about it and pleasingly so due to its supporting brass instrumentation, to impressive cover of Jimmy McCracklin original ‘The Walk’ from Lue Cazz. Of course, no party would be complete without a few wild rockers, and these can be heard via rhythm and blues stomper ‘Give Me One More Drink’ from highly enthusiastic Sammy Cotton, to nearly coming off the highway Johnny Devlin with The Devils’ ‘Big Green Car’, before all things let fly during ‘Bob Cat Stomp’ supplied by King Charles. Phew! ‘Atomicat Hootenanny’ is a party in itself and the perfect record to take with you and hand over to the Deejay responsible for this year’s end of year party if you feel the music is not satisfactory once arriving at your destination. As said earlier, the additional bonus is that ‘Atomicat Hootenanny’ has “…all-year-round playability!” and you cannot disagree with that.

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.

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!”.

Last in the pecking order, but by no means less inferior to its two predecessors, the current trilogy of albums with nothing but dancing on their minds features final volume (for now) ‘Bop-A-Rama’. Wrapped inside a trifold digipak are the contents containing tracks to please any boppers out there whether it’s rockabilly, rhythm and blues or rock ‘n’ roll, there’s plenty here to maintain any rhythm. Mark Armstrong has provided an admiral job in stitching the tracks together and making a coherent whole, and with superb design coming from the creative hands of Henrique San, this album, like its partners, are true works of joy! Unravelling those contents, the first “fire in the hole” comes from Dale Hawkins and, appropriately, ‘Tornado’. From this gust of wind comes another in ‘Rhythm In My Bones’ by Danny Diamonds and The Rubies, who quite frankly sounds like a man living on the edge given the jittery nature of his vocals. Tommy Cassel maintains the driving rhythm and sounds like a true cool kat during rockabilly number ‘Go Ahead On’, and then followed with Al Reed and The Blue Notes picking up the baton and sustaining the energy with a blast of rock ‘n’ roll ‘I Love Her So’. The tempo takes a different turn with examples of country bop from Ben Hall and The Circle 4 Ramblers ‘Blue Days – Black Nights’, and some bluegrass from Flatt & Scruggs with ‘Six White Horses’. The inclusion of some not so familiar in these parts as the curious name badge that is Lucky Plank with primitive rockabilly ‘Hey Hey Baby’, and a true ramshackle delight in ‘Rock The Blues Away’ by Jack and The Knights. Add to the list of bands two more recent faces in much missed Carolina and Her Rhythm Rockets and, providing the last track of the album, Frantic Rockers, then you have another consistently good album of boppers that will keep the feet moving until the next volume.

Final addition to what has been a highly riveting series of albums loaded with many rough ‘n’ ready tunes, as well as more of a steadier tempo from the (so-called) wrong end of town. Five albums in total then, and with the previous volume being absolutely worth its weight in gold, the anticipation has been high in the FLW office. Getting off to a more than satisfactory start, the new album kickstarts the engine and allows for all hell to break loose via three scorchers and beginning with Carl Phillips’ ‘Wigwam Willie’, The Rock-A-Teens ‘Doggone It Baby’, and a little less known ditty here via Morty Marker and The Impalas ‘Tear Down The House’. Keen therefore to investigate further, the rest of the contents of ‘Rock And Roll Floozy 5′ does not disappoint, with the environment remaining familiar and represented in equally raucous fashion. What remains highly appealing are the number of musicians featured who rarely turn up on other similar compilation albums and again, it’s not simply aiming for the obscure artist and track here for the sake of it because the quality is extremely high. Look no further than excellent rockin’ tracks from Kenny Owen and appropriately fitting song title for this album series ‘I Got The Bug’, to Jack Bailey & The Naturals ‘Oh What Love Is’, The White Caps ‘Rock ‘n’ Roll Saddles’, Wally Lewis ‘Lover Boy’, and Joey Du’ Ambra and His Mellow D’s ‘Come Back A-Little Baby’. It’s nearly endless and a collector’s treasure trove so to speak. Add to the album’s track list alternate versions of ‘Good Golly Miss Molly’ from Gary Criss, and The Chavis Brothers ‘Slippin’ An Slidin”, and you are left with an outstanding collection of rockin’ songs.  Of course, tempos vary and bearing in mind these albums have the bop, jive and stroll crowds in mind, so there’s something for everyone. If these sounds are a true representation of the wrong end of town, then all hail a taxi right now and ask to be taken to destination ‘Rock And Roll Floozy’ because there’s no other place to be, given that the music is this good!