The vaults at Koko Mojo must be seriously deep as far as delving for records of particular genres, but also for unearthing a few obscurities that likely go for a few dollars on the internet. What was considered a finished series after its eighth volume was released to the public, Volume 9 of excellent and informative Boss Black Rockers series makes another appearance. With its subheading ‘Crackerjack’ introducing listeners to another twenty-eight tracks of familiar artists, with a few unknowns, sparks interest immediately with The Kents’ ‘I Found My Girl’, and later Dave “Baby” Cortez living up to the wildness of this volume title with ‘Honey Baby’. The songs selected derive from the 50s and early 60s, and there is a lot to consume and probably best with return visits if you want to really get to grips with all on offer here. Pick of an extremely good bunch is the slightly dishevelled (and all the better for it) rhythm and blues of Harold Burrage with ‘Messed Up’, to incendiary (naturally) ‘Crackerjack’ of its album title via The Cues where guitar and vocals truly stand out. Speaking of knockout vocals, Mabel King barely takes a moment to breathe as she swiftly and forcefully moves through ‘Alabama Rock ‘n’ Roll’, leaving The Regals more restrained ‘Got The Water Boiling’ a good destination to take a moment to gather your thoughts before re-entering this wild side of rock ‘n’ roll. As The Shooters featuring Jackie make it work with combined vocals matched to a raucous beat and appropriate misspelling ‘Tuff Enuff’. Leaving the final say with The Savoys’ raw instrumental and street slang ‘Blo Jangs’, Volume 9 of this consistently great series lives up to the same expectations and paves the way for what is supposed to be the final album of Boss Black Rockers.

Returning for a third trip is the new favourite albums series at Famous Last Words (FLW) ‘Rock And Roll Vixens #3’. Lined with twenty-five different female artists of African American origin, Volume #3 gets to work via The Bobbettes’ harmonised vocals that are genuinely steely and determined during ‘Come-A Come-A’. From such tough beginnings come more of the same with furious rock ‘n’ roll of ‘Been A Long Time Baby’ via Baby Washington; bluesy offerings from Babe Wayne and ‘That’s Where It’s At’, to surprise female/male duet between Lulu Reed and Freddy King during ‘You Can’t Hide’. Additionally, the flipside of this song is a phenomenal ballad, ‘(Let Your Love) Watch Over Me’, and therefore it is hoped that this track is open for future consideration of this album series. Another surprise included here is the beautiful Bonita & The Blues Shacks and their own composition ‘Where’s The Money Honey’; a surprise because the track is lifted from more modern times than what is presented here, not that it is noticeable either. From this wonderful delight, the quality of songs remains consistently high with superb vocals of Sallie Blair selling ‘A Kiss A Day’, The Cookies detailed and swinging rhythm of ‘Hippy Dippy Daddy’, to really emphasising the message in both line-up and song title is The Lovers and ‘I Wanna Be Loved’. One of the key highlights comes from clearly talented Big Maybelle who makes ‘One Monkey Don’t Stop The Show’ sound so effortless due to the skills in her locker. Another “All killer, no filler” album from Koko Mojo with ‘Rock And Roll Vixens #3’.

Arriving in the post and complete with a handwritten letter was the TR5’s two-track CD. Rather than this being an official independent release, it would appear The TR5’s is dipping their toes in the water to gauge reactions to their efforts. With the giveaway clue printed boldly on the artwork to what sort of music was behind this CD, there is a charming old-school feel surrounding the entire package, despite no clues to the actual tracks recorded. However, if it is further investigation The TR5’s requires, then they certainly gained the attention of this music paper. What transpires are two cover songs, and brave choices given the artists covered: namely Eddie Cochran’s ‘Twenty Flight Rock’ and Carl Perkin’s ‘Everybody’s Trying To Be My Baby’. With such impeccable taste, The TR5’s also matches with aptitude when covering these two classics. First up is ‘Twenty Flight Rock’ and it is as bright and lively as the original, with the vocals of Rusty impressing throughout and the supporting instruments keeping apace and skipping between the definitions associated with this release of skiffle and early rock ‘n’ roll. If there must be a winner however, then ‘Everybody’s Trying To Be My Baby’ just about edges into first place given the added attitude heard in both guitar and vocals, which is always a bonus when it comes to rock and roll. As first impressions go, it looks like a second date is on the cards with The TR5’s given the quality of these two cover songs.

Following on the heels of previous single, and aptly titled for the current times we are all experiencing, ‘Not What You’re Used To’, singer-songwriter Janita issues a cover of Peter Gabriel’s ‘Digging In The Dirt’. The chosen track is also reflective of the times as Janita explains in her own words, “This song hit me like a ton of bricks when Peter Gabriel first came out with it, but never has the message of the song been more timely than it is right now. To make sense of the world, you have to first make sense of yourself. And in this time of division, to deeply understand what you stand for—and what you can’t tolerate—is everything”. Getting to the root(s) of the present-day pandemic has been, and remains, a challenge. Thankfully, ‘Digging In The Dirt’ provides no such barriers when it comes to listening, which is due to the chameleon-esque inventiveness of both the song’s originator, Peter Gabriel, and current creator, Janita. By choosing to pick up the baton to deliver a cover, Janita remains faithful to its original creation, only there is an added crispness (especially in the guitars) to the song’s overall sound. Helping to deliver such a healthy rendition of ‘Digging In The Dirt’ is fellow singer-songwriter and New York resident Blake Morgan on production duties, to a song examining (personal) mental health and wellbeing issues and one delivered effectively by the sting contained in its verses and then softened by tender, sweeter choruses. With news of a promotional video still in production and to support the single release of ‘Digging In The Dirt’, the jury waits in anticipation for Janita’s interpretation considering the surreal visuals of the original. A timely reminder of a compelling song and one that deserves to be heard, especially in these difficult times, ‘Digging In The Dirt’ remains a classic.

An electronic sound with a dark, atmospheric touch can be heard via latest single ‘Vexilla’ from independent outfit Aryokal. The new track features a hands-on approach from duo Antti Ruokola and Pekka Loponen, with Antti Ruokola responsible for the band’s compositions, programming, and production duties, and Pekka Loponen handling the vocals. What the listener can expect is a lengthy brooding track where minimalist, electronic pulses keep momentum in the background and allowing for an almost free-flowing piano to roam and taking its inspiration from jazz music. There is, however, an interesting turn in the single ‘Vexilla’, punctuated by a halfway point where the previously spoken word feel of the vocals breaks out into a more full-bodied voice, and with the electronic sounds becoming far more prominent. Hopefully, Aryokal is in the planning stages for a full album given the intriguing qualities of current release ‘Vexilla’.

With two previous titles bestowed to the greatness of Grady Martin and more recently Billy Strange, third album in this current series focuses on the work of Cliffie Stone. An absolute mountain of a man in more ways than one, the musical qualities of Cliffie Stone were not simply confined to his instrument of choice, the double bass, no, because in fact Stone was involved in five bands, performed vocals on many occasions, and managed to get the best out of his fellow musicians in the recording studio because of his creative skills, and for being a likeable figure due to his outgoing personality. Working wonders in the recording studio certainly paid off, and detailed here during the first eight tracks, with Stone leading the charge via different line-ups whether His Hepcats, His Orchestra or His Hometown Jamboree Gang. With Country and Western being the musical path trodden by Cliffie Stone for many of the songs, there are noticeable inclusions of big band influences to ‘Sugar Rock ‘n’ Roll’ for example. The inclusion of Bill Monroe classic ‘Blue Moon Of Kentucky’ will gain the attention of those with a keen ear considering a certain “King” who made a rather fine cover of this very same song. From there, expect instrumentals as ‘The Last Round – Up’, and songs with humour as the recently restored life of a bachelor ‘Dirty Dishes’, to nonstop food consumption of country ditty ‘Roly Poly’. With this album being an album of two halves, Stone’s involvement is that of several different guises where additional country musicians made their mark from Merle Travis to Hank Thompson, Skeets McDonald, and the uniquely named Shug Fisher to provide only a small handful of those Stone worked with and inspired. With so much music to his name, ‘Cliffie Stone – The Legendary Capitol Records Double Bassist And More!’ is only the tip of a large body of work, but one that offers a glimpse of an exceptionally large talent.