The mood of this first ever album release by Dale Rocka and the Volcanoes is definitely one of celebratory, as suggested by its title and visually explicit by the ultra-cool artwork gracing its exterior. At the heart of the album’s rockin’ contents, however, is some real cool cats who remain hell-bent on letting their hair down after a fifteen year stretch that has seen countless live performances and various recordings, but never as a four piece until now. So without further ado, ‘Jump into The Midnight Ball!’ is all you can do because its rockabilly rhythms are simply irresistible and will have you moving those limbs until the early hours, such is the relentless pace. The preparation for the festivities at hand starts appropriately with ‘The Midnight Ball’, which has a touch of Bill Haley & His Comets about it, and serves as the ideal ‘warm up’ for what’s to follow. Dale Rocka – real name Massimo Rocka who is responsible for the majority of the songwriting – and his explosive cohorts reveal their wares without any hesitation during standout track ‘Bad Blood’ with its gritty guitars sounding borderline garage rock and Dale’s vocal reminiscent of Darrel Higham on occasions. There is a real glint in the eye with the superbly titled ‘Mama Bring Back (My Blue Suede Shoes)’ that contains a subtle humour, despite being down in the deep end, and reveals the band’s creativity to a large extent, especially when it comes to failing to namedrop the song’s title at every opportunity, which is a refreshing addition. ‘Rag Mop’ is nimble on its feet with a frantic yet light(ish) sounding rhythm and skilful guitar that is brought to the fore. Taking the festivities down a notch, yet remaining consistently compelling with its grungy guitar sound and distortion in the vocal, is the whipping into shape demands of ‘That’s Why I Tell You’. Such advice is soon forgotten, however, once the inventiveness of ‘Remember Last Night’, with its amusing touch of giving the impression of an ‘extra voice’ trying desperately to recollect the morning after the night before, is played out to a brisk tempo and shuffling rhythm. Dale Rocka and the Volcanoes have just had one hell of a party with ‘Jump into The Midnight Ball!’, the good news however, is that this particular midnight ball is open and available to all, and it is one that will not let you down.

Bringing things up-to-date is the latest compilation in the ‘Rockabilly Roads’ series that packs a persuasive punch with a whole line of neo-rockabilly artists from around the globe offering a modern sheen on the rockabilly genre with nearly all original material. Many of the artists present will be familiar to those in the know, with such examples as Big Sandy & his Fly-Rite Boys, John Lindberg Trio, Pep Torres and Mike Bell & The Belltones. With a selection of eighteen tracks to whet the appetite, ‘Rockabilly Roads III’ succeeds in its concept as each and every band, while sourcing their inspirations from the fifties era, sounds current. Evidence of this modern spin on the rockabilly genre comes by way of Fanny Mae & The Dynamite Believers with their infectious ‘Hipshakin’, that sees the band strutting their wares across the chequered flooring of the local diner, only the year is now rather than the late fifties. Boz Boorer pops up with a burly cover version of ‘Cast Iron Arm’ whereas the domineering vocal and guitar of The Caezars excellent ‘Heartache Overload’ claims first prize. The unfortunately named Fatboy garners serious attention with its Roy Orbison meets Chris Isaak vocal delivery during ‘Walk Your Way’, only to be rivalled in the quality stakes by a compelling duet by way of The Hillbilly Moon Explosion with ‘My Love For Evermore’. Pick of the bunch, however, is the hard-edged rocker that is ‘Ride My Bike’ courtesy of The Troubled Three, closely pursued by a recurring theme involving motorcycles with the modern classic that is ‘The Norton Spirit’ by the mighty Blue Cats. At last, a compilation for those supporters genuinely interested in the current wave of rockabilly bands hell-bent on keeping the original rockabilly spirit alive but with a modern twist as ‘Rockabilly Roads III’ successfully displays.

One of the definite highlights at last year’s Rockabilly Rave, the Rhythm River Trio return with the playfully titled ‘Just Honky Tonkin Around!’ With the proud announcement of ‘Twelve smashing tracks in true mono’ adorning the sleeve, the Rhythm River Trio certainly live up to this declaration by offering a factually brief set of songs that actually feels much longer, which is a compliment due to the amount of creativity crammed into the shortest of time spaces. In addition to the twelve songs, the Trio has managed to capture a truly authentic ambience as one feels transported to a fifties setting expertly handled by Sugar Rays Vintage Recording Studio. Flexing their talents over a soundscape incorporating elements of country with, of course, a flurry of rockabilly, the Rhythm River Trio turn on the style from the off with the marvellous ‘Honky Tonkin Around’, compellingly told by lead vocalist David Short and with the song picking up an extra yard with some wonderful guitar halfway through. ‘Drinkin Wine Spo-dee-o-dee’ and ‘Oakie Boogie’ have certainly paid their dues here, as elements from both songs are present before quietly tiptoeing to the cover of ‘Teardrops From My Eyes’ and, more notably, during the band’s self-penned ‘Monday Mornin’ that is full of vigour despite its bleary-eyed central character searching for a saviour. ‘Love Come Back To Me’ received an airing at the previously mentioned Rockabilly Rave and revives some hazy memories of our own due to the forceful manner by which the song infiltrates the senses with its gradual and later incessant picking of guitar, prominent upright bass and lovely drawn-out vocal that leaves nothing but warm memories. It seems, however, that the Trio saved their severest of heartbreaks for the final two outings with ‘Gone And Left Me Blues’ and ‘I’ll Go My Way’. The former of the two songs is at one moment full of bitter resentment and at others sounding utterly desolate, which is full credit to the band due to a convincing vocal played out to a moody rhythm the kind of which Johnny Cash would have been proud. This is finally topped off by the more gentle sway of the aforementioned ‘I’ll Go My Way’ with its brilliant yet desperate request, “Just tell me one time that I’m on your mind”. On the evidence of ‘Just Honky Tonkin’ Around!’ the Rhythm River Trio is one of the finest in their field.

In honour of their festival appearances this year, The Doel Brothers have conjured up a 45 vinyl single consisting of ‘Scream & Bop / I Left My Wife In Vegas’. Such was the impact of the former song, that El Toro Record’s head honcho, Carlos Diaz, bestowed the honour of official song for this year’s Screamin’ Festival held in Spain; meaning that ‘Scream & Bop’ is likely to be remembered for years to come such is the status of this legendary music festival. Promotional tools aside, ‘Scream & Bop’ stands on its own feet with its jittery rhythm, fine guitar break and delightfully raspy vocal curl, “Doooowwwnnn on the beach at the Screamin’ Bop” supplied by brother Gordon and giving the game away that rockabilly is present in their repertoire when the mood feels right. The flipside, ‘I Left My Wife In Vegas’ flexes the Western Swing muscle of The Doel Bothers and offers another reason why this four piece is highly sought after, such is their flexibility but also their dexterity when managing other genres as ‘I Left My Wife In Vegas’ sounds effortless. Equally appealing, however, is the band’s sense of humour as the hapless victim(s), depending on which way you perceive it, is waking up with one dreadful hangover when the dust settles after this Vegas vacation. All things considered, ‘Scream & Bop / I Left My Wife In Vegas’ is the perfect accompaniment to any rockin’ festival this year, but as a 45 single in its own right, The Doel Brothers have just weaved the magic once again.

The clue is definitely in the title when it comes to Pete Anderson & The Swamp Shakers new album as there are enough musical references here, crammed inside a rockabilly exterior,  that will appeal to the broadest of tastes and therefore making that ‘journey’ one of the most pleasurable you’re likely to experience. Whether it’s the opening roll of upright bass and finger pickin’ guitar of ‘Don’t Be Shy’ setting the wheels of the Hudson Hornet (add your own choice of car here) in motion, only to make a brief stop to pick up the next passenger, ‘You Gotta Be Mine’ that’s swinging across the dance floor in sheer delight to an irresistible rhythm courtesy of the The Swamp Shakers, you will not be disappointed. There is a considered approach to ‘Red Corvette’ with its welcome change in pace, doo-wop backing vocals and (almost) understated guitar only to be outdone by the persuasive slow swing of ‘Barbie Doll’ that is handled with great precision by all present and no doubt in reference to the goddess at the centre of all the attention. Without a moment to rest, however, ‘Hot Rod Rocket’ peels away at considerable speed and sounding as if it’s being pursued by the local law enforcers with its frantic rhythm and wild hollering, and all of this from Latvia as well!  An inspired collection of songs, executed with great expertise and therefore worthy of repeat listens, especially considering its sheer breadth of content that requires more than one sitting, ‘Enjoy The Ride’ is clever, clever stuff indeed.

Not a complete retrospective of Roy Orbison and his work, but a well-timed re-release of a previous collection given out during the late 80s which has proven difficult to find. ‘In Dreams: Greatest Hits’ is now issued as a single CD encompassing all 19 tracks of the previous double album release and with the added bonus of being finely tuned in the sound department. Although there is much to enthuse over here, ‘In Dreams: Greatest Hits’ features re-recorded versions of Orbison’s original outputs, focusing on the dark emotional ballads ‘It’s Over’, ‘Crying’ and ‘Running Scared’ as well as obvious inclusions with the rock ‘n’ roll-lite ‘Oh, Pretty Woman’ and infectious ‘Dream Baby’. To our chagrin, however, there is a lack of material from Orbison’s work with Sun Records, despite a punchy version of ‘Claudette’ and impressive retake of ‘Ooby Dooby’. The inclusion of ‘In Dreams’ makes up for any deficiencies however, evoking memories of David Lynch’s ‘Blue Velvet’ of the late 80s and equal to its original. ‘Up Town’ opens the rock ‘n’ roll door once more at a strolling pace of jangling piano keys and minimal brass before breaking into a near sweat with ‘Mean Woman Blues’. ‘In Dreams: Greatest Hits’ is a timely reissue for those seeking instant gratification when it comes to Roy Orbison’s more well-known material and one that does not stray from its overall intentions.