Coming out fighting (playfully of course!) is the compilation of assorted artists making up ‘Playmates’. By claiming “25 Sure Shot Dancefloor Champions” across its cover, the album ‘Playmates’ has a lot to live up to. Once the likes of Derrell Felts, Thomas Wayne and Al Urban get underway, then the feeling is one of being in good company and the earlier assertion starts to make sense. With the inclusion of other “Sure Shot” winners such as Gene Summers (‘Twixteen’), Jimmy Pritchett (‘That’s The Way I Feel’) and in recent times revived on vinyl of Jimmy Dell ‘I’ve Got A Dollar’. There’s the inclusion of something different via some rhythm and blues and The Five Keys’ ‘Hucklebuck With Jimmy’, and later female rocker Evelyn Harlene ‘I Wanta Be Free’. All in all, another fine compilation from the Catfight series that certainly lives up to its billing of “25 Sure Shot Dancefloor Champions”.

First impressions of latest album by Australian rockabilly artist, Kieron McDonald, and fellow Australians, Hank’s Jalopy Demons, suggest a joint meeting of the musical minds. What materialises, however, is a split effort that sees the formerly mentioned rockin’ frontman, Kieron McDonald, take centre stage first, and with Hank’s Jalopy Demons seeing out the remainder of the album. With the additional ‘Combo’ completing Kieron McDonald’s line-up consisting of three quarters of Hank’s Jalopy Demons – namely Dave Cantrell (guitar), Til Vex (upright bass) and Andrew Lindsay (drums) – this rockin’ unit really knows how to churn out a rockabilly sound that is authentic and, more keenly, one that is original in terms of its song writing. First up is the energetic and jittery sounding rockabilly of ‘Oh Judy’ that really sees the male counterpart of this particular relationship all of a fluster due to the ever-changing moods of the lead at the centre of this opening song. Moving on from such a compelling start, the rest of Kieron McDonald’s material continues to enthral both in sound and lyrics where one moment he’s lamenting about the everyday where both car and job threaten to ruin his day (‘That’s Life’), to feeling giddy about the “gal” in his life (‘A Wiggle In Her Walk’), which is expertly defined by the rhythm of the song as well. There’s a touch of humour to the hillbilly and western swing influence of ‘Hard Head’ that is memorable for suggesting this song might be the closest to an autobiographical offering from Kieron McDonald, in addition to being reminiscent of the UK’s very own The Doel Brothers. The second half of the album allows for lead vocalist, Hank Ferguson of the Jalopy Demons to show off his song writing skills because, like Kieron McDonald, he’s equally adept at crafting a fine song or two. The first signs of this can be heard via the wild and rockin’ ‘Jalopy Driver’s Lament’, which showcases the sense of restlessness, in addition to fun-seeking this particular band seem to find themselves at loggerheads with. Other examples of this tangle of the senses can be found during the frank ‘Stop Flappin’ Them Chops’, which is short and sharp in its rhythm and therefore detailing nicely the sense of irritation at the heart of this song. There are certain regrets echoed during the rather excellent and more delicate sounding, ‘Knock Down The Door’. Despite any downturns in life expressed here, Hank’s Jalopy Demons never forget to inject a little humour in to their song writing, with ‘Wig-Flip Bop’ being the standout candidate. Something of a novel idea, ‘Hit The Tracks’ surprisingly works considering the context of the album with two different artists at work. The key to this success is likely down to both artists deep understanding of the genre(s) they’re operating with, but also the passion they share for rockabilly music, as well as a knack for writing and recording fresh ideas and material that makes for a seamless body of work, because that’s exactly what any listener will experience when listening to ‘Hit The Tracks’.

Described as a band that “works hard and rocks even harder”, the Dutch trio that is Slapback Johnny certainly live up to such a description with their debut album. Made up of thirteen self-penned tracks, the band’s debut, ‘Hit Me Up’, is blessed with a high level of energy that fuels songs to the max where rock ‘n’ roll greatly influences the majority of its contents. With many songs possessing a hard-hitting edge where fireworks ignite via opener ‘Bombshell’ and then continue in similar fashion with numerous tough and raucous rhythms from such numbers as ‘One Last Shot’, ‘Hit Me Up’ (title track), ‘Ball ‘n’ Chain’ to ‘You’ve Been Told’, it would seem that any suggestion of the band dropping down a gear or two is simply implausible. Unfortunately this is where the album ‘Hit Me Up’ falls down on occasions due to a sense of repetition creeping in where a slower tempo of a ballad or two would have sufficed and therefore provided a more balanced feel to the overall contents of the band’s first album. However, that is not to say that Slapback Johnny’s ‘Hit Me Up’ is devoid of broader influences because the trio certainly deliver on that front where the likes of Bill Haley and his Comets, Little Richard, Jerry Lee Lewis, The Stray Cats, to name a few, can all be heard throughout this debut album. There’s no doubting the sincerity and commitment to the cause of (modern) rock ‘n’ roll with Johnny Slapback’s first full effort and something that is to be admired with its approach of original song writing and the energetic values underpinning these songs.

Crystal & Runnin’ Wild is far from being your typical rockin’ unit as there’s always been a sense of the ‘other’ about them, which entails various musical influences, albeit subtle, and theatrical touches that earmark them as somewhat different to their contemporaries. Add to the mix a strong sense of humour, not to mention undoubted skilful musicianship, and you’ve really got the full pot when it comes to Crystal & Runnin’ Wild. With the decision made to record the album in MONO, and the band focusing on darker themes without losing the aforementioned sense of humour where B-movie references and influences from surf and garage rock to wild rockabilly play their part, this latest chapter in Crystal & Runnin’ Wild makes for an enthralling affair. Combing original material with a selection of cover songs makes no difference here as the chosen covers often sound like fresh compositions; such is the deft touches of creativity at the heart of this band. For highlights look no further than the wonderfully pared back ‘Set Me Free’; heavy rockabilly of ‘Wish You Misery’ and then more traditional rockin’ ‘The Midnight Creature’, to the pacey Western flavoured ‘Take Me Home’ and complete opposite of dark and soulful ‘Nobody Loves You’ to understand that Crystal & Runnin’ Wild has the ability to offer something quite different and really rather special via latest album ‘The Midnight Creature’.

Boasting twenty-five dancefloor champions, the contents of this latest comp’ from Atomicat certainly lives up to its billing. With the always reliable Werly Fairburn opening proceedings with the country, yet moving into rockabilly category of ‘Speak To Me Baby’ you immediately get the impression you’re in safe hands when it comes to the rest of the album. That’s exactly what transpires as Paul Louise picks up the tempo, albeit lightly, with ‘Don’t Move A Muscle’ and then followed by two charismatic numbers via Buck Griffin and Thumper Jones with ‘Bawlin’ and Squallin’ and ‘How Come It’ respectively. Bobby Marchan brings the rock ‘n’ roll during the excellent ‘You Can’t Stop Her’, only for The Five Keys to reduce the heat somewhat by introducing some doo-wop to the party with their ‘Serve Another Round’. Fear not as the temperature soon rises once again via a succession of rockin’ tracks from the likes of Jim McDonald (‘Let’s Have A Ball), Benny Joy (‘Crash The Party’), Vern Pullens (‘Bop Crazy Baby’) and Gene Summers (‘Straight Skirt’). With something for everyone here, ‘Catfight You Can’t Stop Her!’ will keep any party boppin’ to the very early hours of the morning.

Judging from the stories behind latest album ‘Greetings From Austin’, The Don Diego Trio, along with invited guests to add their creative contributions, had a memorable experience when laying down the tracks for this new recording. The idea to invite other artists to contribute on ‘Greetings From Austin’  was borne out of a week in Austin, Texas, after The Don Diego Trio had received a nomination (the band’s second) for the Ameripolitan Awards. Therefore, with time on their side and rather than spend the week window-shopping, The Don Diego Trio decided to record a brand new record that would serve as a postcard of their time in Austin, Texas. With Mario Monterosso agreeing to produce the album, in addition to lending his vocals and guitar playing for the sessions, and therefore becoming an integral part of the band for that one week in Austin, The Don Diego Trio (or quartet if you like) really let go of the reins in order for the creativity to flow. The end result is thirteen tracks of honky tonk and rockabilly written and recorded in record time and one would never know it considering the quality on display here. Naturally a whole host of guest musicians helps, but full marks to all concerned in making the entire contents of this album because it certainly reigns supreme once the freight train boogie of ‘Daddy’s On A Freight Train’ comes rolling down the track with improvised clickety-clacks from vocalist Don Diego Geraci that signal the end of the song. The mood is buoyant during ‘Truck Drivin’ Daddy’, which possesses a definite whiff of Dale Watson’s earlier truckin’ tunes; ditto the band’s song ‘Monday’ that is even closer to the aforementioned Watson and therefore inspired decisions as both numbers are genuine rockin’ delights. There are several clues during ‘Greetings From Austin’ to suggest that the band certainly enjoyed themselves in the making of this record, where humour can be found in some of the song titles (‘Django From Twango’), not to mention rewording on various classics (‘I Didn’t Walk The Line’). The Don Diego Trio has created a snapshot of a memorable week in Austin, Texas, by way of album ‘Greetings From Austin’ that serves as both a tribute to the City, but also its musical heritage.