Surfing the waves for another outing is the Surfin Gorillas and their current album ‘Aloha’. What the listener gets is a track list of largely rip-roaring surfin’ instrumentals consisting of original compositions and covers. The difference here is that ‘Aloha’ introduces vocals on a few of the tracks, and in the process reveals another dimension to the band. Kicking things off is the excellent Dick Dale inspired ‘Riptide Surfer’, with the Surfin’ Gorillas very own guitarist Andy Wren being responsible for this particular track. From there on, the tracks range from the well-known ‘Move It Baby’, to the energised version of Curtis Knight & the Squires (featuring Jimi Hendrix) ‘Hornet’s Nest’. The song writing skills of Andy Wren pop up again for the lively and infectious ‘Beach Party’, before more original compositions crop up via drummer Gary Griffin with the speedy rhythm of ‘Surfin’ Crazy’ and title track, ‘Aloha’, that is particularly memorable for some fine sax via Clive Osborne. Totalling fifteen tracks, there is plenty of old school surfin’ sounds to take in and enjoy because there is far more on the up here than on the down.

Falling off the rear end of the passing jalopy this morning, and landing right on the doorstep of Famous Last Words (FLW), is the current album from the Doel Brothers with ‘Travellin’ Heavy with the Doel Brothers’. Brewed in the backwoods of Hampshire, the trio of brothers – Tom (drums), Gordon (vocals/guitar) and David (vocals/guitar) – are joined once more by Steve Whitworth on double bass, and Phil Morgan handling the steel guitar, in order to bring to life their second full-length album. What the listener gets here are twelve originals penned by the Doel Brothers that sound as if they have come from the hillbilly settlements of old, and one that is not afraid to shake things up with added western swing and rockabilly. As ‘Wild Wild Woman’ kicks things off with a definite sense of the ‘wild’ about it, due to a driving rhythm and the Doel Brothers full of holler during this rockabilly number. ‘Trouble’ is an intimate tale that is blues in nature and one that is compellingly told by Gordon Doel, and features some serious guitar playing that keeps this engine finely tuned. The filling wedged at the centre of this second long player from the Doel Brothers maintains the consistency and high quality with a succession of songs packed full of intricate details via some wonderful guitar pickin’, with added steel guitar that trips between ‘Does It Feel Good’, ‘You Ain’t A Woman’, ‘Side Step Round The Blues’ and ‘What Ya Wanna Do That For’. If that wasn’t enough excitement, then the truly in hicksville delivery of ‘Oh Boy’ (No, not that one!) turns up the heat somewhat with its references to honky tonk, which leaves the Doel Brothers in fine spirits and making ‘Travellin’ Heavy With The Doel Brothers’ a ride well worth taking.

This is definitely an odd one and therefore something of a disappointment due to being a supporter of the band’s previous work. Unwittingly, B And The Bops seem to have sprung open their own trap because the title of their latest album perfectly sums up the majority of the contents inside. There is no doubting the energy levels and enthusiasm of this band, where a close resemblance to Gene Vincent in both appearance and sound certainly appears to be one of the ideas for ‘All Tangled Up!’ And this is where the problem lies because it’s the amount of ideas presented here that gives the impression of band lost in their own creativity and direction. That is not to say that B And The Bops should not be commended for their creative thinking because they spring a few surprises compared to their previous work which, when it works, is definitely a positive. ‘Breathin’ Down My Neck (Fast)’ certainly presents a different side for reasons concerning its vocal, which needs to be heard, and for the song being a dark, edgy number that tips just over the minute mark before fading out. ‘Rockin’ Rhythm Mama’ falls back down to earth with a straightforward rockabilly sound, before taking a ride with the aforementioned Gene Vincent via ‘Serves Me Right’ and its direct guitar sound and tense vocals, “I can’t eat, I can’t sleep…” and you get the picture here. Once the instrumental ‘Spitzmaus’ enters the fray, superbly executed it should be said, the feeling at this juncture is of an album losing its direction. Another example of this is ‘The Man From The Other Side’ that sounds at odds with those Gene Vincent inspired moments (‘Weekend’) due to its heavier country leanings yet gives a vocal performance that is part Cash and well, a very different side to lead vocalist Branko which, again, needs to be heard. Where B And The Bops get back to their best, however, is during such numbers as ‘Crazy Over You’ and ‘Slam The Door’, with both songs providing the band with a stronger identity in terms of their rockin’ roots. Another take of opening song Breathin’ Down My Neck (Slow)’ offers another interpretation of this track, before further oddities expose themselves with the early 60s feel of ‘I’ll Just Keep On Loving You’ and instrumental ‘Wrangle’. ‘All Tangled Up!’ would’ve best been served as an EP from the songs ‘Crazy Over You’ up to ‘Tangled Boogie’ as it would have provided a clearer indication of what B And The Bops were actually trying to achieve here. As it stands, the album contains several good points which, unfortunately, do not work as a complete whole as it’s the sound of two different bands when one would have sufficed.

Having amassed a total of fifteen years writing, recording and touring together on the rockin’ circuit, The Houserockers add to this incredible milestone with their latest long player, ‘Blue Swingin Mama’. Totalling 16 tracks, with two of these numbers being ‘lo-fi’ covers of ‘Susie Q’ and ‘Slippin In’ that really ought to be heard simply for the added realism of snap, crackle and pop that an old vinyl can possess, The Houserockers pay tribute to the musicians of the past with a selection of 50s covers, as well as adding a few compositions of their own. Not only has this lengthy period of performing together as The Houserockers provided a means of truly learning their craft and therefore creating one heck of a tight unit, but the main bargaining chip is frontman Rob Glazebrook who knows how to write a tune or two. More notably, it’s Glazebrook’s vocal that often contains a charismatic turn that can pull the listener in without any additional persuasion from the rest of the band. The album itself provides a feeling of several genres coming together, but with rockabilly and rock ‘n’ roll being the most prominent. Such examples can be heard from the lonesome and reflective ‘Blue Moon Baby’, to picking up the tempo and running with it during the album’s title track, ‘Blue Swingin Mama’. The temperature increases further during ‘Slippin’ In’ where Rob Glazebrook sounds like he’s letting off steam after a particularly bad day at work. Variation is provided with the light, swinging feel of ‘Baby’s Got Two Left Feet’, and then pursuing similar ground with the rather excellent ‘Give Your Heart To Me’ that is played out to a reasonably pared back beat. The final fling of energy is reserved for the rockin’ ‘Trapped Love’ that is matched in the coolness stakes by ‘If I Had Me A Woman’, which has a certain aloofness about it and partly down to the use of mics as detailed by the liner notes. Paying their respects to rock ‘n’ roll history in fine style, as well as adding enough of their own personal touches, The Houserockers dig in for the next fifteen years with ‘Blue Swingin Mama’ being the perfect start.

Upon first hearing Mystery Trio’s current album, it left a rather blank impression, with a feeling of not knowing what to make of it. Second outing however, the fuss surrounding this three-piece unit was fully understood. ‘After The Rooster Crows’ is a fitting title for the boys from Brazil’s album. An apt description of the contents inside because there is a sprightly feel to their rockin’ tunes; highlighted by first song, ‘We’re Gonna Have A Good Time’, and born to do this job, Elvis Martinatto, who sounds eager to get the festivities started judging by the faint hiccups and flickering hollers in his vocal delivery. For those expecting a wild, non-stop adrenalin ride of rockabilly, then think again, as Mystery Trio provide much variation in their overall sound, and evidenced by the reflective stroll ‘Just Awaitin’, for example. A huge sip of coffee is taken in the, ‘pinch yourself in order to believe it’ moment that is ‘Black Coffee’, brought to life by impressive vocals once more. ‘After The Rooster Crows’ is certainly a sophisticated album in the (modern) rockabilly world, and one that should be filed under the heading ‘grower’, due to the levels of detail hidden between its layers. But it’s also the restrained manner in which Mystery Trio deliver their material, only giving way, every now and then, with a desire to truly go wild (i.e. ‘Brunette To Blonde’). In addition to this, much respect is given between the trio where the vocals are often pushed to the fore, yet Beto Glaser’s electric guitar has a habit of creeping under the tripwire of said vocals without impeding its impact in any way (i.e. ‘Pretending Is A Game’). There are few immediate numbers, with ‘Call Me’ being one such song that will continue playing in your mind long after it’s finished, such are its addictive qualities. A trio from Brazil who suggest they’re in it for the long haul judging by the strength and depth of latest album ‘After The Rooster Crows’, which should still be spinning this time next year, and quite possibly the year after that.

Fine moniker, even finer band. Hailing from the land of Oz, and joining forces for one track (‘Blue Knuckle Ride’) with fellow Aussie musician, Ezra Lee, Hanks Jalopy Demons see their ‘Music On The Up Beat’ released. Closer inspection reveals that this new album is, in fact, a reissue of their previously released Australian only version of the same name Down Under, with the album now receiving wider international distribution. Almost as old as time itself, this four-piece band have been treading the rockabilly circuit for some time, as well as performing in other bands such as Benny and the Fly-By-Niters and the Starliners. With this baggage comes a wealth of experience and evident from the off by recapturing a raw and authentic rockin’ sound. Take the jittery rhythm of ‘Damn Their Hides’, with its paranoid or truthful narrative depending on how one interprets it, but either way this song speaks volumes, “Damn their hides, They’re gonna take you for a ride, Damn their hides, They’re gonna feed you lies”, which could very well be speaking about the industry they find themselves in. It’s a terrific start. More greatness follows with, ‘You Bring Out The Wolf In Me’ that finds lead vocalist, Hank Ferguson, slipping into character and struggling to retain his affections for the other half in his life via some compelling vocals and hints of a definite darker side to this song. If you’re looking for a variety of emotions and topics, then you have come to the right place as ‘Music On The Up Beat’ is littered with them. ‘The Jackal’ and ‘No Shoes’ are two such examples that touch on the darker sides of life once again; both revealing somewhat desperate situations, greatly exemplified by the musicianship and intriguing lyrics. There is even humour afoot during ‘Beat Up ’40s Ford’, sandwiched between two other auto-themed songs (‘Peel Out Baby’ and ‘Blue Knuckle Ride’), that retains an affection for this beat-up truck, despite getting left behind by faster models on the motorway somewhere. It is such songs, as those mentioned, that suggests you could set a cereal box in front of Hanks Jalopy Demons and within a matter of minutes the ingredients from said box of cereal would likely be transformed into an engaging yarn. If further demonstration is required of the inherent skills at the centre of this band, then ‘The Loser’ is perhaps the pick of the crop. Awash in a drunken haze and lost in its own sorrows – part comical where you can visualise the central character almost falling from his barstool after propping up the bar for so long – it’s music that really describe its content to great effect. Not content with leaving it there, Hanks Jalopy Demons show fire in their bellies with the rousing ‘The Pressure’s On’  bringing this long player to a dramatic conclusion. ‘Music On The Up Beat’, most definitely!