The Second coming of Carolina & her Rhythm Rockets has been eagerly anticipated on this side of the fence after creating a bit of a stir with their debut album approximately two years ago. With the new addition titled, ‘By My Side’, the thirteen compositions on offer – all original apart from the inclusion of a solitary cover – almost reads as a list of the trials and tribulations associated with one, or any number of relationship(s). With no word of this being a concept album, the songs, as mentioned earlier, certainly appear to favour such a direction. However, no matter the overall intentions of ‘By My Side’, there is definite soul-searching afoot whether trying to repair the gaping wound left by ‘Hole In My Heart’, expressed with a mixture of confusion and heartache, and then proceeding to neatly tie in the searching impression given by the band’s creative playing during the rather sublime ‘I’ll Find A Way’. Where this latest album differs in comparison to its debut is that Carolina & her Rhythm Rockets sound more confident in their stride, by throwing a few variations to their overall sound. While such variations are subtle, there is one noticeable curveball and that arrives with the bluesy lead track, ‘By My Side’, consisting of slide guitar and powerhouse vocals, and is just short of a harmonica to complete the full blues set. From such a terrific beginning, the quality of the song writing retains a consistency as demonstrated by the short and perky steps of ‘You Don’t Care’, with a lead guitar sounding full of improvisation, to the Sunday afternoon vibe surrounding ‘Pretty Baby’ despite the tension held by its lyrics. When there is disruption, however, it arrives in a compelling holler via ‘I’m Gonna Leave You’ and a series of vocal hiccups during ‘Jungle King’, that provides further evidence of a band beginning to feel at ease with themselves and allowing for a few ideas to flourish. Overall, ‘By My Side’ runs like a well-oiled machine as it’s tighter in its focus yet allows for a fresh layer of creativity to be applied to parts of its contents that leads to genuine progression in the Carolina & her Rhythm Rockets sound, and there is no better sense of achievement than that.

A vintage sound from a vintage era but one now firmly planted in 2015, The Kabooms see their debut album released on Rhythm Bomb Records. Clearly passionate about their choices of gear when committing their songs to the recording process, judging by the detailed inventory of equipment listed in the liner notes, The Kabooms is a band that really cares about its craft. From such detailed information, it’s no surprise that the band’s own compositions pack the same level of detail. Less obvious though, is the actual direction of the music generated by this Spanish combo. Despite peddling an authentic rockabilly sound, it’s one that is far less obvious in terms of which direction it is likely to take. For example, don’t expect a searing sound to come hurling from your speakers as perhaps expected given the band’s title. If anything, this album is more concerned with taking a controlled approach to its song writing, but with enough suggestion of a lurking wildness just below its surface. The song ‘Black Days’ is one such example where its tempo remains at a medium pace yet manages to generate a sense of unease via its raspy vocal and various subtle hints given by the instruments. Lead vocalist Matt Olivera sounds like a hoarser version of Darrel Higham during the wishful thinking of ‘Only Mine’, before changing track and adding vocal hiccups to the skulking rhythm of ‘Pretty Baby’. By shoehorning fourteen tracks into a time just under thirty minutes is some feat, but one that is all the more remarkable when considering the amount of detail compressed into such a short running time that should see a high level of repeat visits as ‘The Kabooms’ will leave you thinking long after its brief stay.

Once you get past the sniggering behind the bike sheds humour of the band’s moniker and front cover art – the rear image is opted for here due to a variety of reasons – there is much to revel in when it comes to The Boners and their debut album, ‘Hell Yeah’, on Rhythm Bomb Records. Performing a modern take on rockabilly with its heftier sound and touch of the blues for added intensity, The Boners occupy similar territory to the likes of Stray Cats, John Lindberg Trio and Scandinavian rockin’ blues outfit, The Kokomo Kings. Having been a part of the furniture for a number of years, albeit in different guises in relation to the rockin’ scene, the quality of the song writing is watertight throughout ‘Hell Yeah’. This becomes evident once the deviant shenanigans of ‘Muchacha!’ makes itself heard by way of its memorable chorus, that should see this song as a live favourite after a few rounds on the circuit. There’s a deeper level of respect at work during ‘My Baby Don’t Like My Car’, revealing a band unafraid to show a difference of opinion and without too many complaints. The following ‘Lockdown’ thunders along at some pace with harmonica reinforcing the toughness of the guitar, rumbling bass and tight drums, which is not the only source of interest as the lyrics start in compelling fashion, “Well I’m on holiday here in the pen…” and then proceeding to reflect on the obvious frustrations of a restricted environment. Upping the tempo further is the rockabilly on speed of ‘Hotel With No Name’, with the band showing their creative side once more when scribbling a decent yarn. Such inventiveness extends itself to the excellent ‘Walk To The Light’, hinging initially on upright bass and lead vocal, before the rest of the band crash the party which, given the mysterious nature of the narrative, is one they should have avoided. Another potential (live) hit is ‘Driving’; a song full of energy, bass booming and containing a nice touch via backing vocals during its chorus (It’s the little things in life that sometimes make all the difference).  Up and running, The Boners look set for the long haul as ‘Hell Yeah’ is a consistent and confident start full of original material and all the more welcome because of it.

Released separately as two vinyl EPs, Rockin’ Bonnie & The Mighty Ropers + The Starliters is given the double treatment here as both EPs have also been issued as a singular CD album showcasing both releases. By combining both sets of vinyl works seamlessly as the western swing and country bop peppered lightly with elements of rockabilly and honky tonk blends appropriately and giving this an overall sense of one band performing throughout. With The Starliters kicking things off in fine style with their ‘Two Cats’ and followed up with the catchy hook of its chorus and near spoken word delivery of ‘Stuck On This Gal And Spin That Bottle’, it’s hoped that this four-piece band do not leave it another thirteen years before committing their creative ideas to a follow-up EP. The contributions from Rockin’ Bonnie and the Mighty Ropers make this EP a stalemate, if you’re concerned with such things, as the quality of songs is equally impressive. From the lazy, hazy feel of ‘Cause Of You’ given real credence by way of a laidback piano and lap steel guitar setting the mood accordingly. There is a great version of Hank Snow’s ‘Movin’ On’ that’s given a boost via a beefed up guitar, only to be edged out by the western swing influenced ‘I’ve Done Gone Hot Wild’. With this album being a generous offer of two for the price of one, coupled with the fact that both EPs are consistent in their song writing, ‘Cause Of You…Two Cats’ is one record that is going to be difficult to ignore.

Arriving just in time before the next venture under the sun and on the sands of Calella, Spain is a compilation of dancefloor fillers personally handpicked from last year’s top DJs spinning the decks at the Screamin’ Festival. With eight DJs selecting three songs apiece, and a remit to provide a reason to shake those limbs, the songs chosen provide a breadth of rockin’ originals. There is no favouritism here as the choice cuts selected from each and every DJ is of the highest order but, unfortunately, there is simply not the time and space to detail each and every entry. The choice of rhythm and blues seems to slightly outweigh the straight rockabilly or rock ‘n’ roll songs and perhaps understandable when the inclusion of the unfortunately named Joseph ‘Mr Google Eyes’ August induces a bout of hip swinging with the rhythm and blues shake of ‘Rough & Rocky Road’, to the “interpret as you will” moniker of Bull Moose Jackson whose forceful rhythm and blues commands the upmost respect. Equally deserving of such recognition is the rhythm and blues rocker ‘If It’s News To You’ courtesy of Little Esther, which is nicely complemented by the compelling vocal delivery of Solomon Burke’s ‘Be Bop Grandma’ that starts off as a velvety tone and ends up almost a full-blown holler by its conclusion. The inclusion of ‘Hoots Mon’ by Lord Rockingham’s XI is a misfire and one that doesn’t rest easy with the rest of this compilation, but several remedies soon arrive in the shape of Ricky Nelson’s excellent rendition of the Baker Knight composition ‘I Wanna Be Loved’; the manic rock of Ralph Nielsen & The Chancellors’ ‘Scream’, and the primitive beats and humorous take of ‘Leopard Man’. ‘It’s A Scream!!! Original Soundtrack of The Screamin’ Festival’ houses enough rockin’ delights to keep your ears engaged and dance shoes moving until the next Screamin’ Festival arrives this year. What a wonderful addition this compilation is, and a great advert for a well-regarded music festival. Viva El Toro!

El Toro Records is really turning up the heat with latest release from Jaguar & The Savanas with its occasionally wild, but more often controlled ride of surf-inspired instrumentals. Coming equipped with the self-proclamation of ‘Dedicated to all obscure surf bands like us’, Jaguar & The Savanas is probably under the illusion that their music is restricted to a limited audience, which may have been the case prior to the official launch of ‘Wet Side Stories’, but no doubt the tide has turned in their favour with the eight tracks complied here because there is simply no resistance against the infectious rhythms on offer. By creating a certain amount of mystery regarding the band – the comic book imagery for starters, as well as adopting the title of a popular musical and renaming it with a suggestive and insalubrious substitute – is the stuff rock ‘n’ roll was designed for, and something Jaguar & The Savanas certainly make the most of during their brief stay via ‘Wet Side Stories’. The impact of ‘The Ride of May Gray’ is immediate with its tough and gritty rhythm coming by way of some Dick Dale inspired surf guitar, which happens to follow suit with the equally engrossing ‘Castaway’. There is a measured tempo to ‘After The Ray Storm’, appropriately setting the mood for this song as there appears to be a genuine amount of contemplation occurring before finding its answer via the strolling beat of ‘Gator Rescue’. Such variations in style and pace is the key to Jaguar & The Savanas longevity because as it stands, ‘Wet Side Stories’ is a wonderfully  executed series of instrumentals that fit their billing accurately by maintaining a sense of ambiguity and level of excitement that never outstay their welcome.