A compilation with a difference from Atomicat Records featuring German artists performing rock ‘n’ roll songs from the 1950s and early 1960s in their native language. With thirty-two tracks making up the first volume of this series, there’s plenty to digest with Ted Herold starting the album with a determined rendition of ‘Little Linda’ and Ralf Bendix closing the album with a lively big band version of ‘Sputnick Rock’. There’s an interesting touch given to this album with rebranding of some song titles such as ‘Holiday City’ being a cover of Jan and Dean hit single ‘Surf City’ and, for the purpose of this album, served up by equally interesting moniker Club Gerry Friedrich. Speaking of thought-provoking names, Cat’s Bimbo Box raises an eyebrow, yet the sound is rockin’ with excellent piano during ‘Baby Bitte Bleih Bei Mir’. Add to the mix some novelty via Hans Blum and ‘Charly Brown’ with, again, nifty piano work, before turning up the heat a notch with Billy Sanders’ ‘Du Hast Zuviel Sex-Appeal’ and Peter Kraus with ‘Tiger’. On the evidence of volume one, the series ‘Rockin’ Schlager Party’ is likely to achieve cult-status amongst record collectors given the different approach of this brand-new series from Atomicat.

Firmly back on the saddle is Rhythm Bomb Records with latest album release by French rockabilly outfit The Hoodoo Tones. Firing up the old classic of its front cover, The Hoodoo Tones embark on a third trip packed with twelve new songs. The latest long player sees the band ‘Still On The Run’ and blending traditional rockabilly with the modern trimmings found on the rockin’ scene. Examples of such influences can be heard via ‘Train Yard Boogie’ that hints at Johnny Cash but never quite ventures on the former legend’s territory, yet you can almost hear that “train a comin’…” via The Hoodoo Tones’ bristling rhythm and chiming guitar sound. Where the Hoodoo Tones also excel is their ability to inject something a little different as heard by the verses of ‘Young Guns’, sounding thoroughly modern yet held together and making perfect sense by the glue of its choruses due to its close affiliations with rockabilly. It all makes for a compelling track, and one fearful of its aging status due to the talented young bucks waiting closely in the wings to become the next big thing on the rockin’ scene. Doing things differently appears to be The Hoodoo Tones philosophy as ‘Still On The Run’ throws up a few additional surprises such as introducing female voice of Crystal Dawn who provides a really strong presence during the chuggin’ country-light and rockabilly-heavy rhythm of ‘The Crystal’s Kick’, hotly followed by the near-country and western feel yet overwhelmingly rockabilly of ‘Another Toy’, with lyrics deploring the unfair status of one half of a seemingly doomed relationship. In fact, there isn’t much this talented three-piece cannot do as they turn their attention to rhythm and blues during ‘The Taste Of Love’, with saxophone supplied by Alex Bertein, to offering other avenues containing a bluesy rhythm topped off nicely with nasally vocal of ‘Coming Home’ to full of attitude and probably one of the coolest tracks you’re likely to hear all year ‘The Rooster Song’. What more do you want? It’s no wonder The Hoodoo Tones is on the run because they’ve clearly bagged all of the available talent and made a dash for it because all the evidence resides under the bonnet of ‘Still On The Run’ as it’s C’est magnifique!

Revving up for the latest series on Atomicat Records is ‘Kustom Kulture Klassics: Hot Rod Tracks From Past And Present’. Hosting many tracks covering the subject of hot rod cars and associated relationships. Artists featured are those from the hallowed era of 50s rockabilly, with several inclusions from the early 60s, but also modern artists from recent times and it makes for a compelling listen. Naturally, the impression given is of exhilarating rockin’ sounds and that is more or less what you can expect, but there are also slower tracks which provides a balance to the whole album. Closer inspection of the tracks reveals songs intertwining the subject matter of the album’s title with the pleasures and struggles of relationships. First up of one such example is from the modern era featuring the always reliable Jason Lee Wilson, who conveys the importance of ‘Pure Horsepower’ when it comes to certain choices in life set to a rockabilly soundtrack and featuring use of slide guitar. Cookie Roberts’ ‘Draggin’ The Drive-Inn’s’ takes the listener back and is as incandescent as the “neon lights” of the night-time drive-inns its visiting via some lively saxophone and full of confidence demeanour. It is an absolute classic. Bobby Verne follows in similar style with a cool as ice performance during ‘Red Hot Car’ that is accompanied by a fiery saxophone and is a definite contender for track of the album. Ike And The Capers provide a reminder that this new series on Atomicat features bands from the present, but having listened to their ‘Burn It Ernie’ that is a raw shufflin’ rocker, the difference in time periods becomes rather blurred. The album closes with a compelling narrative and rhythm and blues backing from Mr. Bear and His Bearcats’ and the song ‘RADAR’, which sets this new series on course to be a classic in line with the respect given to the cars of its title.

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.

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.