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.

Fourth album in for Rob Ryan and his Roadshow that shows no signs of letting up, such is the heady mix of rockabilly, rock ‘n’ roll, hillbilly and country sounds which explains the majority of this latest album’s contents, but it should also be noted that there are one or two deviations from this formula. The first indication that other influences are at work here can be heard from the album’s introduction ‘Stay In Bed’, as it snuggles up close to a rhythm and blues sound with Rob Ryan’s vocal sounding light and soulful. The next surprise comes in the form of a cover song, and one that is not selected from the customary vault of 1950’s goodness because this one is taken from a more recent decade with The Eurhythmics ‘Missionary Man’. Despite not being a fan of the original composition, the translation of this Eurythmics hit is a far grittier version, complete with impassioned vocal and side support coming by way of harmonica that manages to receive the unanimous thumbs up. The ‘Goin’ Old School’ of its title really makes itself known with the mid-tempo country ‘Long Gone Day’, then applying its foot on the gas for the rockabilly infused ‘Catwalk Baby’ with Rob Ryan’s vocal impressing throughout. There is time for reflection once ‘When I Found You’ makes its entrance, with its nimble rhythm implying the joy felt as this is one song with a happy ending after years in the doldrums. Further jovialities ensue once the Jerry Lee Lewis inspired wildness of ‘Monkey Beat City’ clambers over the entire contents of this album, letting its presence known via some white-hot rock ‘n’ roll, only to be given a run for its money by way of ‘Not Good Enough’. If only all roadshows were as compelling as the one Rob Ryan is promoting because ‘Goin’ Old School’ is a lesson in how to achieve a finely tuned balance between a choice selection of genres and making it work as a cohesive whole.

The rock ‘n’ roll legend that is Jerry Lee Lewis returns with a new album, ‘Rock & Roll Time’. Having enlisted the creative help of a few well-known musicians including Keith Richards, Nils Lofgren, Neil Young, Robbie Robertson and Shelby Lynne, the songs recorded pay their respects to other legendary artists by covering such songs as Chuck Berry’s ‘Little Queenie’, Johnny Cash with ‘Folsom Prison Blues’ and ‘Stepchild’ by Bob Dylan to name but a small sample. The album was recorded at the House of Blues in Memphis and finds Jerry Lee Lewis in fine form from the off with the barroom melody, and title track, ‘Rock & Roll Time’; a song that was originally co-written and recorded by Kris Kristofferson during the seventies. While there are no embarrassing attempts to re-enact those wild rock ‘n’ roll years, Jerry Lee Lewis belies his years with an energized performance of said Chuck Berry record ‘Little Queenie’, suitably aided by fellow wild rockers Keith Richards and Ron Wood. The following version of Bob Dylan’s ‘Stepchild’ is given a blues workout, expertly handled by Daniel Lanois and Doyle Bramhall II, then swiftly followed by the more rockin’ ‘Sick And Tired’, this time with support coming from Jon Brion. For those eager to hear the latest take on ‘Folsom Prison Blues’ (Johnny Cash) it will not leave you disappointed with its more spacious arrangement allowing itself to pick up an assortment of instruments along the way, which adds a sense of spontaneity to the recording due to sounding as if the various instruments are trying to pull in different directions but somehow managing to combine and provide a genuine alternative cover of this classic song. There is also a country flavour to ‘Rock & Roll Time’, mingling with the rock ‘n’ roll numbers, with the rather dreamy ‘Keep Me In Mind’ and storytelling thread shared by Shelby Lynne during ‘Here Comes That Rainbow Again’. ‘Rock & Roll Time’ is highly commendable for its enthusiasm, inventiveness and warm nature when recreating a number of original compositions that could have easily fallen into the category of going through the motions. As it stands, one of the original rock ‘n’ rollers is not about to call time on his career, and long may that continue.