Returning with fourteen brand new and original compositions is The Margraves and their new long player ‘Primitive Beat’. With this being a sophomore effort, the trio that is Bobby, Mick and Ray Margrave set rich vocal harmonies to driving guitar beats that sound effortless in their executions such is the professionalism of the entire album. This is largely down to experience as The Margraves has built up a following over the years having performed live in various different cities throughout Europe and the US. With the addition of a tenor sax to The Margraves sound, and supplied by Ray Margrave, in addition to (background?) member Mark Margrave pounding away on the drums, the new album immediately whips up a rock ‘n’ roll and late 50’s surf-rock  sound from ‘She Shakes’ to ‘Just Right’ and ‘Not Guilty’. The aforementioned saxophone makes its introduction during the instrumental ‘Guilty’ and reveals another dimension to The Margraves sound, which is used to even greater effect during the moody ‘Desperate Man’. The album’s title track lives up to its name with amusing lyrics mentioning the nightmare scenario of waking up in unfamiliar surroundings and then struggling for a way home played out to a deliberately primitive beat. ‘La Matadora’ injects a touch of the dark stuff in terms of its rhythm, before ending on a catchy number with ‘Black Widow’. It can be said that it’s business as usual with The Margraves and album number two, as the band deliver a highly polished collection of rock ‘n’ roll songs, with a few additional touches that gives their sound added lift.

Wearing matching attire and looks resembling one of Hollywood’s film and studio A-listers, with a second clue held by the title of this third offering from Scotty Baker (answers on a postcard to the usual address if you like), ‘Lady Killer’ is the album that should see the Australian rockabilly star gain further popularity. Backed by his in-house band, the equally talented ‘Doel Brothers, along with fellow Aussie Ezra Lee (piano) and the seemingly ubiquitous and guitar maestro Darrel Higham, Baker set about his business with the end result being fourteen new compositions. Beginning with the rockin’ and swinging affair that is ‘Back To The Country’ with its effective use of pedal steel and lyrics full of suggestions about heading back to his roots, or more a question of escaping the hustle and bustle of city life which has served Baker so well in terms of promoting his music to wider audiences. However, any desires of the quiet life thankfully evaporate once the mean and moody rockabilly influenced ‘Bump Stops’ enters the picture because it’s a song full of attitude (held by its rhythm alone) and subtle humour (a key ingredient and definite charm to the song writing of Baker) referencing cars with the opposite sex. Another attraction of ‘Lady Killer’ is the broad range of influences used during such numbers as ‘One And Only One’ that ventures out into rhythm and blues with a fine turn on the sax from Stephane Swervy, and repeated during the bright ‘Baby’s Dress’. Elsewhere, the formerly mentioned Ezra Lee stamps his mark all over the excellent ‘Hank’s Cadillac’ that references Hank Williams, coupled with flashes of Jerry Lee Lewis via Ezra’s dominant and skilful playing. The ghost of rock ‘n’ roll is conjured during back-to-back songs ‘Girl I Need’ and the album’s title track, with both numbers possessing killer guitars at the hands of Darrel Higham, who combines garage rock with rock ‘n’ roll on ‘Girl I Need’, and then helps to drive an infectious rhythm during ‘Lady Killer’ that goes straight to your heart with added HEAT from Scotty Baker’s vocal. ‘I Still Don’t Care’ is a how many finger(s) salute one cares to use in the direction of a former relationship that turned sour. Whereas ‘Forget About My Heart’ raises a glass of humour with its  “…forget about my heart and give my liver some love”, which gains further clarity once the chuggin’ rhythm, à la Johnny Cash, comes into view of ‘One Of The Some’. The genius that is Scotty Baker makes it three albums in a row where the word ‘magnificent’ can be applied, once more, to latest addition ‘Lady Killer’. If there’s to be one winner however, then this latest addition to the Baker catalogue edges the contest by the narrowest of margins, simply for its openness to a broader range of influences, and for its decision to allow its hired hands equal ownership over its contents and turn ‘Lady Killer’ into a real family affair.

The collection of CDs made available via the Big 3 label is definitely one of the better compilations for those less initiated in the work of rockabilly and rock ‘n’ roll legend Eddie Cochran. In fact, to receive a more thorough overview of Cochran’s music, then you’re looking at a mortgaged-sized box set. However, if it’s value for money you’re after, and one that possesses quality of sound, then you’ve definitely arrived at the right place as ‘Eddie Cochran: The Absolutely Essential Collection’ offers a solid  overview of his career with well-known hits such as ‘Summertime Blues’, ‘Twenty Flight Rock’, ‘C’Mon Everybody’ and ‘Three Steps To Heaven’ to name but a small handful. Where this compilation excels is for its inclusion of the unrelated duo of Eddie and Hank Cochran via a selection of The Cochran Brothers songs such as ‘Guilty Conscience’ and ‘Fool’s Paradise’. Unfortunately there’s no ‘Jelly Bean’ included here, which is one of Eddie Cochran’s best numbers as well as no liner notes to consult with, but that is mere nick picking considering the aforementioned price tag and high number of songs included. ‘Eddie Cochran: The Absolutely Essential Collection’ is a worthy addition for anyone’s record collection.

There is no introduction required when it comes to the wild and wonderful talent that is Jerry Lee Lewis. Spread out over three CDs, and including fifty-seven tracks in total, is a variety of Jerry Lee Lewis’ hit singles from ‘High School Confidential’ to ‘Whole Lotta Shakin’Goin On’ and ‘Great Balls of Fire’. With a lot of the SUN Records era covered and therefore space for including the excellent and more bluesy feel of ‘Hello, Hello Baby’ and ‘The Ballad of Billy Joe’ showing the influences running through this man’s piano fingers, the Big 3 record label offers value for money and quality with this release. The only downside to this compilation album, and the entire series, is the lack of any information regarding the artist or tracks included, which is a shame considering the rest of the quality on offer here. However, for an introduction to the musical abilities of Jerry Lee Lewis, especially in that prime SUN Records era, then ‘Jerry Lee Lewis: The Absolutely Essential Collection’ is a fine introduction that should open the doorway to further investigation of this mercurial and wonderful talent.

Compiled over five CDs is the latest collection of tracks taken from the stable at Rhythm Bomb Records. Arranged into categories consisting of Perfect for Parties; Boppers; Strollers; Jivers and Slow Down there’s definitely something here to suit fans of the genres of rockabilly and rhythm and blues. With this set following on from previous box set ‘We Got Rhythm’, there’s an incredible 125 tracks to consume and too much for one sitting! Representing more up-to-date releases with artists ranging from Aussies Hank’s Jalopy Demons (‘Damn Their Hides’); AJ & the Rockin’ Trio (‘She Do The Bop’); Twisted Rod (‘Booze Bop’) and The Starjays (‘Who Do You Love The Most’) to name but a select few, it’s pleasing to see bands and hear tracks chosen from the vaults at Rhythm Bomb with Gone Hepsville, Pete Hutton & the Beyonders, Chris Almoada, The Backseat Boogie, Mississippi Queen and Pep Torres. Limited to only 300 copies, and with far too much detail to reveal all here, ‘Get Up and Dance!’ is an essential purchase and another introduction to the array of bands releasing the goods at Rhythm Bomb. Now get going!

Fourth solo album for Australian Kieron McDonald who normally can be found fronting the Flatfoot Shakers. Latest album ‘Shake That Thing’ is pretty much business as usual with Kieron recreating a genuine rockabilly sound with leading contenders for such a description via the snappy twang of opening song ‘Rockabilly High’; the lonesome ‘The Knock On My Door’ which is instantly kicked into touch by the positive upturn in fortunes of ‘Goodbye Lonesome’, before pleading once more for ‘A Little Love’ in his life backed by a rockin’ rhythm. Such knowhow when creating a long player full of original material is largely down to Kieron McDonald’s longstanding when it comes to the rockin’ scene, only this time there is additional support and creative input from fellow Aussies Hank’s Jalopy Demons and Ezra Lee. It would appear that the additional input of these musicians has added to the slightly darker edges and wilder elements that have a habit of appearing at various stages (‘The Devil’s Eyes’, ‘I’m The King of The Road’ and ‘Why’) not to mention the piano trickery of Ezra Lee capturing an old-timey feel during the excellent ‘She Means Nothing To Me’. With such good company in the rear, Kieron McDonald doesn’t forget to shine as this is after all his stage and where you can hear his influence all over the reflective ‘She Thinks of You’ and relentless beat of ‘Go Go Girl’ for example. A full pot of original material and one that requires your undivided attention because ‘Shake That Thing’ is just that record to keep the rockabilly flame truly burning.