With the Czech Republic currently Europe’s mecca for all-things musically landing somewhere between the forties and the fifties, Gone Hepsville is another addition to this growing band of artists hell-bent on recreating such bygone and golden passages in music’s rich history. The sheer quality of the musicianship, coupled with a breadth of influences stemming from the six band of brothers that make up Gone Hepsville is something to be marvelled at because what’s on offer with ‘Lotsa Rhythm’ is an album crammed full of big band, jump, swing, jive and rock ‘n’ roll cooked to an often pulsating rhythm that will have your limbs swinging in no time at all. If you want proof of life in these very songs, which stretches to an incredible 18 tracks, then the lively brass instrumentation and enthusiasm held in the vocal of the album’s title track, paired with the equally sparky ‘Hip As I Can Be’ are two clear indicators that these Hepsville cats are here to rock! ‘Lazy Town’ is a call to arms to kick-start the nondescript settlement into life with a compelling vocal nicely supported with a harmonious backing and then a powerhouse of brass, rolling drums and rollicking piano that gives this town a fresh lease of life. The ensuing ‘She Won’t Shut Up’ is a punchy number greatly exemplified by pounding keys and additional handclaps that really drills home its message by way of yet more proficiency in the musicianship. Great credit must also go to the production duties of Axel Praefcke at Lightning Recorders for the manner in which ‘Lotsa Rhythm’ is handled by capturing an inch perfect authentic sound because the entire album sounds like a genuine slab of 40s/50s nostalgia. With such careful precision and with great dedication to their overall work and sound, Gone Hepsville have created a long player that puts many to shame not only in terms of its inventiveness, but for the sheer energy and enthusiasm coming from all corners of this marvellous album that’s definitely not short of rhythm.

Weaving their way through the streets of Praha with every intention of bringing their authentic 50s rockin’ beats home to roost is Czech Republic outfit Twisted Rod. By issuing a clear warning that the contents of the band’s latest album comes with added oomph that may be too hot to handle for some listeners, Twisted Rod certainly live up to their cautionary notice by delivering a searing set of rockabilly numbers. Consisting of 15 tracks, ‘Bring It On Home!’ blazes a hot trail from its start-up song ‘Twisted Rod’, through to its concluding number ‘When I Watch You’ that reveals a tale full of obsession and wonderfully portrayed by some edgy vocals and a frantic rhythm. Bustling forward in a confident manner is ‘I Love You My Way’ that applies distortion on the vocals and works wonders, especially when vocalist Phil stutters his lines, “B-b-b-b-baby I love you my way” as if to reinforce his intentions. ‘Down The Line’ is of similar ilk to its predecessor, only this time reflecting on a derailed relationship that’s expertly conveyed by an enflamed vocal and tight rhythm section that keeps a respectful distance so that this ball of raw emotions is allowed to truly express itself. Two covers are given the Twisted Rod treatment with an exhilarating performance of Charlie Feathers’ ‘Stutterin’ Cindy’ and a vocally deep rendition of Benny Joy’s ‘Wild Wild Lover’ that’s as wild as its title suggests. Despite the majority of ‘Bring It On Home!’ being performed at a rapid pace, Twisted Rod shuffle their rhythm slightly to allow for a reduced tempo that reveals not only one of the album’s highlights, but another side to their armoury by way of ‘Tijuana 45’. It’s a song with nothing but revenge on its mind as the dark narrative takes notes from Nick Cave before setting out on its journey to the accompaniment of a shimmery guitar that sparks into life once our assailant reaches their destination.  If that wasn’t enough to suggest ideas for future directions, then the bluesy ‘Ridin Down The Highway’ answers any such concerns with an animated harmonica and throaty yell that definitely brings it on home for this Czech three-piece. By the time Twisted Rod arrive at their terminus, you will be clamouring for a repeat performance of this exhilarating ride because ‘Bring It On Home!’ is really that good.

What begins, surprisingly, in a bit of a whimper ends up resembling something akin to the name Frantic Rockers and their ‘Savage Beat’. Having not had the pleasure of witnessing Frantic Rockers in a live scenario, one suspects that their brand of wild rock ‘n’ roll, with a heavy dose of the blues, is a force to be reckoned with when up on stage. In terms of their current issue out on Rhythm Bomb Records, the opening trio of ‘I Wanna Boogie’, ‘Hoodoman Blues’ and ‘Rolling Stone’ remain a bit tepid in the sound department and give the impression of a band warming up before all cylinders are fully firing. Once that torch paper is lit, however, then some serious rockin’ action begins and starting with use of the harmonica during ‘Crying and Pleading’, which is supported by vocalist Jesse’s persuasive delivery. With the harmonica warming up during the former song, it is red hot by the time it gets to the absolutely flyin’ ‘All Through The Night’, with Jesse getting in to his stride and keeping tabs with the scorchin’ rhythm. The Frantic Rockers is definitely a tight unit musically, but they also possess an important ingredient in vocalist Jesse as this frontman has the ability to possess songs with a raw and domineering voice that steers such examples as ‘Rumours’ and ‘Howling’, but also add a touch of variety by breaking into spoken word passages during opener, ‘I Wanna Boogie’. Despite the earlier misgivings, Frantic Rockers ‘Savage Beat’ eventually does exactly what it states on the tin, and that is deliver an exhilarating ride of wild and savage bluesy rock ‘n’ roll.

‘Fallin’ In Love Is Easy’ is the introduction to Lew Phillips eponymously titled album on Rhythm Bomb Records, but it is also the first introduction to the second coming of the late and supremely great legend that was Buddy Holly. No doubt Lew Phillips is either experiencing one of two emotions and that is extreme gratitude with being compared to one of the pioneers of rock ‘n’ roll music, or such a comparison is beginning to grate after being informed umpteen times, “Wow! You sound like…” There is simply no escaping the fact though, when hearing Lew Phillips for the first time it will leave you breathless, momentarily, before the senses begin to react once more and the next step requires a quick look at the album cover just to make sure you followed the instructions correctly when inserting or setting down the correct album. Despite such a glaring comparison, there is definite genius at work here as all of the compositions are originals and penned by Lew Phillips himself, but it is the manner in which he moulds a number of them as if providing his interpretation of various Buddy Holly songs. For example, ‘Marie-Lou’ is Lew Phillips homage to ‘Peggy Sue’, complete with one or two vocal hiccups that really come to the surface during the excellent ‘Be My Baby’ and is probably the closest replica of Buddy Holly vocally coming through the speakers along with the equally infectious ‘Tell Me Why’. For our money though, the doo-wop backing and Lew Phillips pining over the memory that was ‘Laurie-Anne’ is the main source of treasure among many wonderful delights. Lew Phillips self-titled record will leave you speechless for a number of reasons, with one openly obvious one.

Nothing but a safe pair of hands, Bear Family Records bring sweet, pleasurable relief with a new two-part series that focuses on ‘The Other Side Of Bakersfield’. The first volume of Boppers and Rockers from Nashville West details a succession of artists from the 1950s and 60s from the city of Bakersfield eager to experiment with the wilder sound that was emerging at a quickening pace with rockabilly and later rock ‘n’ roll. With an abundance of independent record labels able to provide (temporary) homes for those deemed worthy enough, the more familiar names of Buck Owens (aka Corky Jones on one particular number), Tommy Collins, Merle Haggard et al are present, but also much sought after originals with the endearingly named Custer Bottoms, for example, with his ‘Stood Up Blues’ that possesses a wonderful natural quality mainly expressed through Custer’s ‘hick’ delivery  rendering the abject misery of the central figure via the opposite sex utterly convincing. Cliff Crofford’s prospects appear equally bleak with ‘There Ain’t Nothin’ Happenin To Me’ that sounds like it’s made up of a very primitive rock ‘n’ roll rhythm. Johnny Taylor certainly adopts a similar methodology with his more up-tempo version of the (still) primitive rockin’ beats by way of the superb ‘Mixed Up Rhythm & Blues’, only for Jimmy Thomason (‘Now Hear This’) and Glen Ayres – Red Simpson (‘Sweet Love’) to shake things up further with some rhythm and blues and then followed by a concoction of teen rock and boogie. The sheer breadth of styles is astounding not to mention the abundance of creativity – Joe Hall & The Corvettes ‘Bongo Beating Beatnik’ a prime example – that makes this first volume ‘The Other Side Of Bakersfield’ a must have item.

It might be time for the delinquents gracing the front cover of ‘Desperate ‘Rock N Roll Volume Three’ to feel nothing but shame for their collective misdemeanours, but there is no sense of shame when it comes to the magnificent array of rock ‘n’ roll obscurities and near misses gracing the contents of this latest compilation on the Flame imprint. From the outset, the third instalment in the ‘Desperate R N R’ series reveals a series of winning songs, the equivalent in musical terms to a winning lottery ticket with more than a few bonus balls, that should appease even the harshest of critics. Evidence of such lofty praise is instantaneous with Baby Huey & the Baby Sitters ‘Messin’ With The Kid’ which accelerates at considerable speed on the back of splendid vocals and thrusting guitars that brings together rhythm & blues with more than a hint of garage rock. Such intensity is maintained with Steve Alaimo & the Red Coats’ ‘She’s My Baby’ only it’s more of a deep brooding number with Alaimo’s vocal sinking considerable depths and adding to the song’s forceful appeal. There are a few primitive numbers scattered throughout with Clyde Arnold & the Sharps ‘I’ve Got A Baby’ sounding as if put together on a real shoestring budget and a reminder of the still evolving rock ‘n’ roll genre whereas the Floyd Dakil Combo’s ‘Dance, Franny, Dance’ is more the complete package due to arriving later and clearly to its advantage, as it is a sheer delight with its recognisable mid-60s tone complete with handclaps. The country twang that accompanies Willie .B. and his ‘Bad Mouthin’ slows the tempo but equally remains infectious and a worthy inclusion, as are the two rockabilly numbers from Don Feger who, according to the enclosed booklet, remains something of an enigma due to a dearth of information. If you like frantic rock ‘n’ roll with more than its fair share of obscurities spanning from the 50s to the 60s, then ‘Desperate Rock N Roll Volume Three’ is a must have compilation.