Just as its title suggests, the tracks complied for this latest instalment in the Koko Mojo series consisting primarily of blues and old-fashioned rhythm and blues (the way it should be) is a combination of these two genres that do their upmost to maintain a rockin’ beat throughout. As with previous titles, the names littered here will be familiar to many (Arthur Crudup, Little Junior Parker, Big Al Downing, Bo Diddley et al) but there are many that will be less familiar (Alonzo Scales, Billy Boy, J. B. Lenoir et al). With any such lists being subjective to individual knowledge of course, the long list of artists given airtime during ‘Combination Boogie’ is a delight to behold. Kicking off with what sounds ramshackle at first yet develops into a full-blown gallop of rockin’ blues complete with harmonica is an early shot of medicine supplied by Doctor Ross and ‘Cat Squirrel’. Maintaining this lively start is the excellent ‘Goin’ Back Home’ by Cousin Leroy that is packed with details and suggests numerous paths this song could suddenly take off in such is the musicianship at the centre of this record. At other junctures you will find Silas Hogan giving a straight rendition (and one aided by the harmonica) with ‘Lonesome La La’, and then greeted by full band versions of Jimmy McCracklin ‘Gonna Tell Your Mother’ and Tender Slim ‘Don’t Cut Out On Me’. The combined blues and rhythm and blues, and not forgetting the dash of rock ‘n’ roll supplied on various occasions, ‘Combination Boogie’ is yet another reason to reach for this compilation series because once more it’s of the highest standard.

According to the liner notes rhythm and blues artist Joe Tex did not find success with his music until the year 1964. All prior attempts to make a breakthrough in the charts during the 1950s was greeted with a muted response apart from those who really appreciated the man’s singing and performing talents; most notably James Brown who, according to many people during the artists period at King Records, pilfered various dance manoeuvres including the microphone tricks, in addition to the “rapping” over the music from Joe Tex. Not to be hard done by though, Joe Tex persevered with his music by extending his talents to the song writing department as well as continuing his own path to break the charts. With four songs selected for this vinyl release, listeners can appreciate the impassioned vocal performances of the likes of ‘Davy, You Upset My Home’ and ‘Cut It Out’ where there is humour to be found in the former track yet jealousy has a habit of plaguing both songs. The tables are turned once ‘Open The Door’ makes its entrance with Joe Tex pleading for a second chance with vocals that can best be described on a par with the heat emanating from a blowtorch with both Little Richard and Jackie Wilson adding to the pressure. The influence of Little Richard can be heard during the closing ‘You Little Babyfaced Thing’ not only in Joe Tex’s voice, but also the pumpin’ piano and brass of this great rock ‘n’ roll number. Thankfully, Joe Tex managed to find success because it would have been a great injustice if the hits had eluded him judging by the quality on display here.

There’s no better place to start than with Ray Charles classic, ‘Mess Around’, to set up what is (another) lively volume in this near perfect series. With the Mojo Man, as always, laying down his words of wisdom when it comes to the nature of the music and appropriate moves to accompany the often-traditional rhythm and blues doing its thing from the speakers, the latest in this long line of volumes is up there with the best. Largely down to shifting tones musically i.e. the bluesy roll of George Wild Child Butler’s midtempo shuffle ‘Jelly Jam’ from previously mentioned Ray Charles’ lively start, to stepping it up ever so slightly with “cool as” rhythm and blues sandwich (the blues providing the glue in the middle) via Fox Hall and ‘Do The Rock And Roll’. From there on, Clarence Samuels can barely contain his excitement as he sings from the rooftops once news reaches that, “We’re goin’ to the hop tonight,” which is followed by Doug Powell & The Valients irresistible ‘The Whip’, and then proceeded by the blissfully happy tongue twister ‘The Wiggle Waggle Woo’ (Sticks McGhee) and wonderfully tender ‘We’re Goin’ Out To Rock Tonight’ by Kine Morgan. As mentioned earlier, ‘Sugar Jump’ is among the best in its class when it comes to this series of rhythm and blues and remains on course for commanding pole position.

Stamping their identity all over this compilation album are the female singers of 50s and early 60s generations trying to make a name for themselves in a largely male dominated industry. What the listener will experience with ‘Cat Scratchin’ is a variety of songs, with a variety of styles that show flashes of sophistication and songs borne out of more primitive foundations. There’s plenty of attitude as well as honesty, not to mention a mental toughness as well as vulnerability that serves up a perfect balance of emotions. Most tracks give the suggestion of late 50s and early 60s periods in history with the rhythm and blues ranging from late-night torchbearers such as the excellent ‘Please Give Me A Match’ performed by Rebecca Williams, to the tub-thumping, boisterous racket that is ‘Holy Mack’reel’ from equally animated vocals of Prentice Moreland. More interestingly, a few of the songs selected by the female performers either perform still from a male perspective, such as the previously mentioned ‘Holy Mack’reel’, or elsewhere show signs of subtle changes via Geneva Vallier and her interpretation of Ray Charles’ I Got A Woman’ with ‘You Said You Had A Woman’. There’s plenty to take in with ‘Cat Scratchin’ from the near-ramshackle rhythm of ‘How Can I Lose’ (Shirley Ann Lee), to something far more ambitious sounding via the album’s title track by Marie Williams. A solid and worthwhile collection of songs that show the female artists certainly matched their male counterparts when it came to engage an audience (look no further than Peppy Prince and ‘Ain’t Nothing Shaking’ for immediate evidence of this) by revealing a variety of emotions that make up ‘Cat Scratchin’.

It’s been a few years since the last outing from The Rob Ryan Roadshow with their ‘Live At Montreux Jazz Festival’ long player. However, 2019 marks a fresh start for the band with their new album ‘Coming Home’, which is their first studio recording since 2014’s ‘Going Old School’. The latest album ‘Coming Home’ reveals the band at quite possibly their best and delivers their usual trademarks of skilful musicianship combined with versatility, not to mention a willingness to experiment when it comes to their decision-making. All such points are to be commended as The Rob Ryan Roadshow continue with such traits during ‘Coming Home’ where roots rock meets bluesy rhythms and country-fried grooves. This broad sourcing of influences is what sets the Rob Ryan Roadshow apart from several of their contemporaries and really sets the band out as something altogether different. In part, this is down to personal tastes of the band members where each bring their own musical influences to the creative table whether that be rockabilly, country, blues, pop or punk rock, it’s all in there, with some influences subtler than others. It’s also down to the cultural diversity within the band where America meets Germany for a jolly good knees up! By the sounds of it, such a combined mixture of styles and influences really has no right to work, but that’s exactly what occurs from start to finish during ‘Coming Home’. Whether it’s rolling out a blast of blues rock via ‘Blackout’, to rock combined with country of opening song ‘Free’ or swapping tempos for something beautiful and tender of country-tinged ballad ‘Let The Heartache Begin’, The Rob Ryan Roadshow tie their diverse influences together seamlessly. Throw in the band’s customary souvenir and own interpretation of a cover song or two, with ‘Whiskey In The Jar’ being the standout here, suggests The Rob Ryan Roadshow has successfully brought all their influences home and managed a difficult task of melding these together into one accessible whole. ‘Coming Home’ works on all levels and earmarks The Rob Ryan Roadshow as a rather exceptional band.

The theme of this compilation album of known and lesser known rhythm and blues performers appears to focus on the notion of the blues making itself known whether you’re in relationship or without a relationship. Those suffering from such symptoms can comfort themselves a little once it is known that the blues expressed here started a long, long time ago, in fact, from the beginning of time according to the scribblings of Little Victor“…the eternal LOVE-HATE relationship between men and women that started with Adam and Eve at the Garden of Eden…” But rest assured dear listeners as the songs contained within are full of upbeat rhythms and built for those who like to shake their limbs across the (fifties) dancefloors. ‘Don’t Mess With Me Baby’ is packed with a lively set of songs that opens confidently via the instructions of Bull Moose Jackson and ‘Watch My Signals’, to wild and often sax-driven tracks as ‘She Walked In’ (Morris Pejoe) and Rufus Brown with ‘Keep A Knockin’. With full accompaniment of instruments supporting many of the contents of ‘Don’t Mess With Me, Baby’, the songs listed have certainly moved on from their earlier and more primitive foundations. This is largely noticeable from the fuller sounds as mentioned, but also for the charismatic turns in vocal performances that range in styles where confidence is on full display despite lyrics of despair (i.e. King Perry with ‘Come Back Baby’) to other moments that reveal vocal turns that contain shades of light and dark and superbly demonstrated by Larry Ellison & The Mark IV (‘Young Girls’). So, if you’re suffering from a bout of the blues, then ‘Don’t Mess With Me, Baby’ is the perfect place to find a remedy.