Keeping the momentum going is the third volume in the series offering various strands of country music by way of ‘Hillbilly Boogie And Jive Vol.3’. Traditional country in its various forms can be heard throughout with many established artists such as Red Foley, Chet Atkins, Ella Mae Morse to Bill Haley & His Comets mingling with names less familiar and that’s just one of the great intrigues with this series. Therefore, the track lists selected so far have been inspiring, and Volume. 3 shows no signs of altering this trend. First-hand evidence of this can be experienced during the opening western swing instrumental from Spade Cooley & His Orchestra with ‘Oklahoma Stomp’. Despite this collection serving early country music, there are some artists operating within the genre of rockabilly. Therefore, there’s no better place to begin with than Earl Epps excellent ‘Be-Bop Blues’. The previously mentioned Bill Haley & His Comets also reveal an early foray on rockabilly with their ‘Green Tree Boogie’, and ditto Bill Phillips’ ‘There’s A Change In Me’ with its title alone suggesting the changing times. Returning to the main theme of this album, Dave Isbell’s ‘Satisfied Or Sorry’ is beautiful as it is heart-breaking, whereas Ramblin’ Jimmie Dolan offers a compelling chattering vocal style complete with rollicking piano and steel guitar during the hillbilly boogie that is ‘Juke Box Boogie’. Such tracks representing ‘Hillbilly Boogie And Jive Vol.3’ reveal a wild side that was in evidence before rock ‘n’ roll had chance to fully claim this title. This comes as no surprise when songs were given titles such as ‘My Mail Order Mama’ during this era of country music, showing that there really was a lot more going on than simply great music coming out of those distant country hills.

Adding to the “Popcorn” series on Koko Mojo is latest album ‘Popcorn Blues Party Vol.3’. With all tracks compiled by the Mojo Man himself (aka Little Victor) and all being remastered, there’s much for the listener to take in as with the previous two volumes with a genre of music that first originated in Belgium. For those less acquainted, the Popcorn genre blends traditional rhythm and blues with pop songs of the 50s and 60s and performed in a slow to midtempo and often in a minor key. With such details in mind, Volume.3 begins with a fine, midtempo instrumental via Mighty Joe Young and track, ‘Voo Doo Dust’, and then working its way to other choice cuts such as the passionate ‘Homework’, given its expression via great vocals (Otis Rush) and combination of roaring  brass and splashes of Hammond organ, before succumbing to the realisation of ‘One Way Love Affair’ expertly told by prominent instrumentation throughout and the vocals of  Z. Z. Hill; the latter deliberately giving the impression of being secondary in this particular tale. The inclusion of Muddy Waters’ ‘I Won’t Go On’, Howlin’ Wolf ‘Who’s Been Talking’ and others such as Guitar Slim and thoroughly engaging ‘Well I Done Got Over It’ reveal a strong blues slant to this album release. More common with the “popcorn” genre is the midtempo blues and soul combined of ‘Screaming Please’ complete with smooth vocal from Buddy Ace. What stands out most is the attention to detail of the majority of these tracks, where the music speaks just as loudly as the lyrics when it comes to informing the listener of the downtrodden tales of love often found on ‘Popcorn Blues Party Vol.3’.

Ushering in another new series is Atomicat Records with their ‘Hank Williams Songbook Vol.1’. The new set of volumes looks to the songs of Hank Williams with a few additional tracks that also inspired the singer-songwriter. The rest is left to various selected artists to provide their interpretations of Hank Williams songs. Therefore, Volume. 1, ‘Rockin’ Chair Money’, focuses on numerous songs where country, bluegrass, gospel and honky tonk play their parts, for example, and often where the tempo is upbeat and lively. Step forward various artists with sizeable reputations to spread the gospel that was Hank Williams when it came to traditional country music, presented here by the likes of Moon Mullican (‘Jambalaya’), Marvin rainwater (‘Moanin’ The Blues’), Johnny Horton (‘Cherokee Boogie’), Don Gibson (‘Why Don’t You Love Me’) and The Maddox Brothers & Rose with ‘Honky Tonkin’. Much respect is given by Porter Wagoner’s version of classic ‘Settin’ The Woods On Fire’, to nothing to be ashamed of cover of ‘I Could Never Be Ashamed Of You’ by Delbert Barker. Equally competent and offering slightly different versions of Williams’ songs are Smilin’ Eddie Hill with ‘Mind Your Own Business’ and bluegrass legend Bill Monroe with ‘I Saw The Light’. With a hefty twenty-eight tracks to work through with this new release, there’s much to ponder and rejoice in when it came to the music of Hank Williams.

Turning its attention to music from the American wilderness is Atomicat who introduce a fresh series focusing on ‘Hillbilly Boogie And Jive’. The first volume features country music from America’s Pine State and features various artists predating what was to later become rock ‘n’ roll. With the genres of hillbilly, western swing and honky tonk featured throughout this first compilation, there’s certainly something for all those country music aficionados out there. Housed in an ultra-slim digipack and remastering having taken place at Black Shack Recordings and Mark Armstrong responsible for compiling all tracks, ‘Hillbilly Boogie And Jive Vol.1’ provides a great introduction to those less familiar with the aforementioned genres. There are many established names represented here from the likes of Bill Haley & His Comets, Tennessee Ernie Ford, Wade Ray, Merle Travis, Hank Penny, Patsy Cline, Hank Thompson, Don Gibson, Tex Williams et al. With such an established line-up there’s much quality on offer, not to mention compelling narration via excellent ‘Hadacillin Boogie’ from the quick tongue of Hank Penny, to Johnny Bond with ‘Sick, Sober And Sorry’. The country music is often lively and upbeat but with lyrics that often reflect opposite emotions such as The Singing Rangers & His Rainbow Ranch Boys ‘Can’t Have You Blues’ or Gene O’Quin with ‘I Get The Blues’. Standout track goes to Wade Ray and ‘Idaho Red’ complete with backing singers and handclaps that are simply irresistible! Overall, this is a GREAT entry point for those looking for some genuine foundations of the artists who represented the developing country sounds.

Arriving in the form of two albums, yet packaged as a single release, are the brand-new offerings from the Harvey Steel show. Leading the way from Norway when it comes to raising awareness of social, political and environmental issues via their brand of DIY psychedelic folk art rock or whatever label one deems fit to apply to the band’s musical creations, the Harvey Steel show continue their musical exploration with a vinyl edition presented as a double A-side showcasing ‘Blues For Mother Earth’ and ‘Freak Knowledge’. Running first with ‘Blues For Mother Earth’, this side of the album reveals contents lighter in textures of folk, jazz and acoustic rock that eventually make their way to its centre masterpiece, and that being the album’s title track. Unfolding in 14 minutes, ‘Blues For Mother’ (track) goes through musical transitions involving folk and near gospel, to orchestrated jazz and breaks of psychedelic rock that remain under control nearing its conclusion. Lyrically, the song is worth adhering to if the present stranglehold of environmental pollution is ever going to be resolved. “Snap, snap, snap,” goes the flipside ‘Freak Knowledge’ that maintains the same A-sided status as ‘Blues For Mother Earth’ yet is the more aggressive sibling of the two. That’s not to say that we’re entering post-punk territory here, far from it, more that ‘Freak Knowledge’ is a little rougher around its edges as it pays its respects to those free spirits of this world prepared to open their minds and buck the norm of following trends. The Harvey Steel show certainly open their DIY box of creativity where blues, jazz and garage rock are on the menu. Former single, ‘Honey Voodoo’ is one such candidate that fits such a description as everything but the kitchen sink gets tossed in where, for example, you’ll hear more than one set of drums, distorted bass, harmonica, keys, saxophones, strings, vocal harmonies and an overload of guitars. Compelling chaos in other words. Less is also more here, with songs more concise as the short-sharp stabbing rhythm of ‘Artsy Crocodile’ with its protest-sounding vocals and bluesy harmonica are a match made in heaven, and one that would make PJ Harvey proud. There is only one way for the Harvey Steel show to go, and that is to continue pursuing their own musical destiny because this double A-side long player is a triumph.

Arriving just in time for Christmas is the compilation ‘Blink Before Christmas’ from Koko Mojo. With a series of songs based on the usual and not so usual yuletide themes, and backed with traditional rhythm and blues, the thirty tracks selected offer much choice. From happy beginnings via James “Sugar Boy” Crawford and ‘White Christmas’, to humorous tale of an inebriated ‘Santa Claus Came Home Drunk’ by Clyde Lasley, ‘Blink Before Christmas’ immediately suggests not only a carefully selected playlist but one that will deviate from the norm to provide a different perspective of the Christmas festivities. With big names offering their musical wares such as B.B. King (‘Christmas Celebration’), Louis Armstrong (‘Zat You, Santa Claus?’), to superbly told narratives involving ‘Santa’s Secret’ (Johnny & Slam) and a rockin’ Santa Claus as featured by The Voices’ ‘Santa Claus Boogie’ and Babs Gonzales ‘Rock and Roll Santa Claus’. However, the main present arrives during delightful talkie that is the album’s title track, compellingly told by Phil Moore, making this a truly wonderful Christmas present for any record collection.