At the fifth stage in what has been a highly consistent series of albums so far featuring many exciting rock ‘n’ roll tracks from various black artists from the “Golden Age” of American music comes ‘Boss Black Rockers: Just Rockin’ & Rollin’ Vol.5’. Packed with another twenty-eight songs carefully selected by the Mojo Man (aka Little Victor), the tracks chosen feature a number of artists that will be unfamiliar to many except for the diehard rock ‘n’ rollers who managed to tap into this particular corner of rock ‘n’ roll first time around. It must be said that elements of traditional rhythm and blues mingle with the first shoots of rock ‘n’ roll throughout this album and clearly heard via opening track ‘A Real Good Time’ by Eddie Clearwater. Following on is Frankie Lucas and the addictive ‘I Want To Rock You Baby’ with a steady flow of brass instrumentation bubbling underneath throughout. Next up is Bobby Flare and ‘Variety’ where the song has a habit of providing plenty of variety in terms of style as do the vocals with a tendency to flare up on occasion. It’s a thrilling listen and good starting point if looking for an instant fix of rock ‘n’ roll. The name Brook Benton crops up once more (See Koko Mojo album ‘Elvis Stole My Job’) with ‘Hurtin’ Inside’ and good example to see where Elvis adopted part of his vocal style. Further accusations of “borrowing” can be levelled at the white artists who made rock ‘n’ roll very popular once the singular Harvey and song ‘Da Da Goo Goo’ makes its entrance and speaks in eccentricities with Purple People Eaters among the topics. Volume five lives up to it predecessors where the rock ‘n’ roll is free flowing from top to bottom whether it’s coming from the excellent ‘(I Do The) Shimmy Shimmy’ from Bobby Freeman or The Corvairs ‘Hey, Sally Mae’ and, not forgetting, top version of ‘Lucille’ by Ike Haley & The Red Blazers concluding another compelling set.

Drumming up ideas for new series is all in a day’s work when it comes to the folks at Koko Mojo Records. Fresh out of the stable is latest series ‘Let’s Throw A Rockin’ Soul Party’. Consisting of various artists from the 50s and early 60s, the attention to details is ever-present where music of the blues was transforming, and rhythm and blues really took hold and continued evolving to the point where the early stages of soul music were beginning to show. The compilation ‘Let’s Throw A Rockin’ Soul Party’ focuses on these musical developments with “soul” being the emphasis here, albeit in its early stages. Bringing together an interesting mix of major players within the genres of blues, rhythm and blues and early foundations of soul music you will find well-established artists and tracks. Such examples can be cited from the album’s initial stages with none other than John Lee Hooker’s utterly compelling ‘Boom Boom’, Little Eva with ‘The Loco-Motion’ and probably two of the clearest definitions of early soul music via J.J. Jackson (‘Oh My Liddy’) and Bobby Lewis (‘Tossin’ And Turnin’) where bright rays of sunlight were beginning to break through.  The golden tones of Sam Cooke during ‘I’ll Come Running Back To You’ cement such feelings, albeit at a much calmer pace and, likewise, the ubiquitous airplay of the song ‘Stand By Me’ from Ben E King. Packed therefore with established names from Marvin Gaye (‘Pride And Joy’), Jackie Wilson (‘Baby Workout’), Gino Parks (‘Don’t Say Goodbye’) and Etta James (‘Somethings Got A Hold On Me’), it’s testament to the irresistible charms of soul music where a lot of these tracks lie deep in the psyches of many people where, for example, The Mar-Keys instrumental ‘Last Night’ reminds of a certain BBC comedy and fond memories associated with this. That is the power and popularity of this genre of music because it will last for a lifetime.

The cogs are turning once more at Rhythm Bomb Records with a brand-new release issued this month. Marking the comeback is Fireball Steven with an authentic take on rockabilly via new long player ‘Thunder & Lightning’. From a fresh faced and youthful appearance adorning the cover of his latest album, concerns of growing old seem to be impacting the song writing of Fireball Steven. An example of this can be heard during the only self-penned track of the album, ‘Rheumatism Baby’, which is a crying shame considering its addictive shuffling rhythm and cool vocals that would have seen its songwriter firmly at home with the original pioneers of 50’s rockabilly. That said, the choice of covers is given careful consideration with either less obvious artists chosen or those who are more familiar it’s often a less obvious song selected for ‘Thunder & Lightning’. Paying much homage therefore, but not without adding very subtle traits of his own, Fireball Steven reinvigorates such great and interesting choices as Ronnie Self’s ‘Black Night Blues’ where piano certainly dominates, to a very live sounding ‘Everybody’s Body’ via George Hamilton IV with some great pickin’ on the guitar. The straight out of Memphis interpretation of Larry Manuel’s ‘Comanche Rock ‘n’ Roll’ sees Fireball Steven slipping comfortably into the former songwriter’s rockin’ shoes with much respect given as its inch perfect. Additionally, ditto Luke McDaniel’s ‘Huh Babe’, albeit with the smallest of margins when it comes to energy during Fireball Steven’s version. It’s more than a solid comeback from both artist and record label where Fireball Steven proves his knowledge and worth when recreating a 50’s rockabilly sound that shows great respect to former recording artists of the era, but with added bonuses where Swedish enters the vocabulary of ‘Thunder & Lightning’ (‘Söderns Son’), and the formerly mentioned own composition ‘Rheumatism Baby’ revealing a genuine song writing talent in his own right.

Arriving late to this particular party, Famous Last Words caught wind of the wild rock ‘n’ roll antics of Wales based rock ‘n’ rollers, Dave & the Headshrinkers, via a live festival performance that appeared to shake the very foundations it was staged, in addition to waking up the local neighbourhood. Fast forward a year or two and the band’s sophomore album ‘Crashland’ has firmly established them as talented songwriters and a force to be reckoned with. Given the three year gap it has taken FLW to catchup with this branch of rock ‘n’ roll, any concerns regarding time lost is instantly forgotten once the opening salvo of ‘Mrs Tolley’, ‘I’ve Got Something Good For You’ and ‘High School Reject’ unleash their raw rockin’ sounds and lyrics that veer between revenge and steely determination. It makes for an impressive start  where Tchaikovsky is mentioned in the same breath as Chuck Berry (‘Mrs Tolley’) and traditional elements of rockabilly, spliced with rock ‘n’ roll, can be heard (‘I’ve Got Something…’), in addition to Doc & the Headshrinkers own take on these genres and best highlighted by the bruised yet still bustling ‘High School Reject’. It’s rock ‘n’ roll at its fullest attitude. Such feelings continue apace via the combined mouthful of words and frantic rhythm of ‘It Got In The Way’ that sees the band swinging from the chandeliers which, had it been a recent single release, could have been the party anthem to end this turbulent year given its punk-a-billy feel and open interpretation of its title that certainly applies in the present. As ‘Crashland’ continues to unravel its contents, the impression given is one of an album that improves with each and every layer where songs become even more considered ‘I’ll See You In Hell’, ‘Love Lies Lost’ and the tightly knitted rhythm and vocals of ‘Dig A Bone’ to cite a few. The influences are wide (Rockabilly, country (& spaghetti western), rock ‘n’ roll, punk, etc.) but often expressed subtly throughout ‘Crashland’. Therefore, accusations of straying from its main source (i.e. rock ‘n’ roll) is unwarranted, more that Doc & the Headshrinkers is a band open to ideas and free of fear when it comes to writing their own compositions. Long may that continue as the second album is a raging success with plenty of creative threads to pursue if the trio decide to undertake album number three.

Appropriate really considering the title of Norwegian Benjamin Finger’s album ‘Less One Knows’ that there is no press information accompanying this latest release and, therefore, leaving any theories and conclusions solely at the feet of the individual. An album wide open to interpretation therefore, and leap into a blackened wilderness, but most certainly not into the unknown considering Famous Last Words’ previous commentary on the works of Benjamin Finger. That said, ‘Less One Knows’ removes those comfy slippers Mr Finger was becoming accustomed with and immediately throws a U-turn where sounds were previously ethereal, wispy and largely communicating in electronic jargon, and replaced by such examples as the opening cacophony of noise illustrated by ‘Open Phase’. It is the start of this journey and it is one trying to remove itself from the confined space it finds itself in. It is the sound of a traffic jam in rush hour largely demonstrated by use of guitar. It is this very instrument that shapes and steers this new record and sounds somewhat alien when considering previous albums of Benjamin Finger. It is an angry record in several places given the hardened, charcoaled textures of ‘Screaming Mind’ where one can visualise sheets of rain beating down, to one that has been listening to and taking notes of post-rock and shoegaze. More specifically, the ghost of Joy Division is a reference point given the heavy melancholy of captivating ‘Bothered Earwaves’. Something has certainly shifted in the sea of sounds when it comes to Benjamin Finger because ‘Less One Knows’, in all of its details, is a record attempting to make sense of an episode that provides no comfort, only sadness, where memories surface and fade from thought and illustrated compellingly from start to finish via mainly electric guitar and, more or less, a first on this very manor, strong(ER) use of vocals where direct commentary between artist and audience is almost given, but then that would be a disservice to the title and overall context of this magnificent body of work. Sometimes in life, ‘Less One Knows’ really does provide more consolation.

A series that is raising a holler due to not only its excellent content but also for providing a piece of history that is not highlighted enough regarding the many “ACE” black musicians who laid the foundations for what became rock ‘n’ roll. With volume four in this recent series from Koko Mojo, the twenty-eight tracks on offer provide enough glimpses of the talent of the time but also for the energy and inventiveness of the rockin’ tracks. By introducing a few names that will be familiar to some i.e. Jimmy McCracklin, Lloyd Price, Otis Redding with, on this occasion The Pinetoppers and others such as Joe Tex, Gene and Eunice and Larry Williams, the inclusion of a few lesser known artists adds extra spice to the series and therefore a worthy addition to anyone’s record collection. From the very definition of “wild” rock ‘n’ roll that is the severe guitar straining number ‘Wail Baby Wail’ from Tommy Louis With Marshall And The Versatiles, to more rhythmically tight ‘Such A Mess’ but nonetheless rock ‘n’ roll given the power expressed by Lloyd Price’s voice, volume four of this series has no intention of slowing down. With so much expressed via the rhythm and blues/doo wop crossover of the vocals and rock ‘n’ roll of its guitar of The El Venos’ ‘Geraldine’ providing such a deeply textured song yet sounding free of clutter, to other tracks where the rock ‘n’ roll is absolutely flying such as the fantastic ‘Papa Lou And Gran’ supplied by Little Victor. Only four albums in and the series ‘Boss Black Rockers’ has already offered more than enough great rockin’ tracks and, even greater news, there’s still more to come!