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.

Having been a part of the rockin’ scene recording and performing live since the late 70s and therefore one of the ‘…first generation of European artists to embrace rockabilly’, Chris Almoada is poised with his latest project, ‘On The Great River Road’. This current album has not been a short ride as the initial ideas began as far back as 2010, and finally concluding at some point in 2013. Having composed all of the melodies himself, but with additional help in terms of the lyrics coming from Las Vegas-based David E. Miller, Chris Almoada relays a collection of tales stemming the length of this Great River Road with a backing that is largely rockabilly. There is a great old-time quality about this whole package from the artwork and most definitely from a number of the contents inside. Right from the off the album’s title song drums up imagery of a torrid landscape, but it is not something to be overly fixated with as the aforementioned rockabilly sound takes hold rather than this being a straight country album. More to the point, ‘On The Great River Road’ has more in common with the country pioneers and assortment of hillbilly musicians who turned their attention to rockabilly once this genre started to take hold during the 50s. The blustery and catchy chorus of ‘Maiden Rock’ is one such example bringing to mind Marvin Rainwater, only to be given a good run for its money by the gripping rhythm of ‘The Gem From Illinois’ that shares a passion for a long-lost sweetheart. The tempo steps down a few notches during the piano ballad ‘Palmyra Lane’ that sees Chris Almoada in reflective mood and spinning out this yarn to the remaining customers propping up the bar in some remote town. There’s no let up once ‘The Falcon’ digs its talons in deep as it’s something of a wild ditty with a guitar itching to take centre stage such is its restlessness. There is a return to a more authentic country sound illustrated greatly by the truly grainy style of ‘Memphis Odyssey’, before the almost epic, by these standards, ‘Rabbits May Be Dancing’ introduces itself and then suitably followed by the galloping rhythm and occasional yodelling vocal of ‘Patch Of Green’. With much to consume here, ‘On The Great River Road’ is clearly a labour of love considering the time spent honing and crafting these songs into a cohesive unit in order to recount this great journey. Therefore, just like the artist at the centre of these songs, this is a journey that is well worth discovering and one that is deserved of much attention.

In time for the Halloween festivities Union Square Music has compiled a twenty-track collection of the weird and wonderful from the vaults of a long-lost era. Despite this being a ‘themed’ release, the songs complied here are suitable for any occasion as there is much comedic value between the layers rather than anything to cause sleepless nights. In fact, the breadth of originality presented throughout is the most frightening aspect, due to such inventiveness being in short supply nowadays and something to be truly envied. Early indicators set by Bobby “Boris” Pickett with his witty and charming ‘Monster Mash’ and back-to-back contributions via Sheb Wooley’s ‘The Purple People Eater’ and David Seville’s ‘Witch Doctor’, each containing the added bonus of helium filled supporting vocals, reveals such depth in the creativity department. The subject of purple people eaters resurfaces with the familiar opening guitar signature of Bo Diddley when he confronts his nemesis during ‘Bo Meets The Monster’, and the Big Bopper offers a rockin’ slice with a difference by means of a toy instrument to portray the rock ‘n’ roll wannabe from outer space. In between the more playful moments the earthmoving vocal of Screamin’ Jay Hawkins classic ‘I Put A Spell On You’, Kip Tyler’s mean and moody ‘She’s My Witch’ and more straightforward rockin’ tune for this particular compilation from Elroy Dietzel & The Rhythm Bandits with ‘Rock-N-Bones’ levels the playing field and provides the perfect balance for an utterly absorbing set that should remain spinning long after the assortment of spectres have departed until next year’s Halloween festivities.

The real reason why we are here is for the music, and rightly so, as it seems unlikely that the UK’s Alleycats will be strutting their wares up on the catwalk any time soon. By combing a mixture of covers with original material, ‘Up To Scratch!’ is a qualified title as these wise rockin’ cats show how it’s done with vocals revealing faint resemblances to Jackie Brenston, and a sound that brings together rock ‘n’ roll with rhythm and blues. Having found a safe haven to record the album in two stints at Roundel Studios in Kent that stretched over a vast chasm of seven years, it’s not difficult to comprehend why such a lengthy gestation period took place as the end results are beaming like a Cheshire cat, such is their overall quality. The lynchpin holding all of this together appears to be longstanding member Drew Spikes, who not only produced ‘Up To Scratch!’ but knows how to pen a tune or two considering the wealth of original songs littering its contents. First of an impressive bunch is the up-tempo swing of ‘Daffy’ that opens a door to some fine guitar by way of Mick Murphy. The change in lifestyle from the remote countryside to the bright city lights is communicated compellingly by the impressively named Johnny Valentino during the contagious rhythm of ‘Born & Raised In Hicksville’. Elsewhere ’88 Keys’ drives at some pace with top-notch piano from former Matchbox member Rusty Lupton as the song conveys its frustration with the memorable line, “I got 88 keys but I can’t unlock your heart”.  As a collective, the Alleycats really pull together as each and every song provides more or less equal billing as far as the instrumentation is concerned. With Butch Evarts (sax) and Jerry Bart (drums) completing the six-piece line-up, such a demonstration of this equal billing is displayed during an imposing rendition of Huey ‘Piano’ Smith’s ‘Roberta’ and a rockin’ ‘I Ain’t The Marrying Kind’. Stretching out their creative boundaries further is the slight country twang of ‘In The Doghouse Again’ that is peppered with some wonderful sax and possesses a lyrical content of a cryptic nature regarding the ‘hero’ at the centre of this song. There’s no tomfoolery as far as Alleycats is concerned as ‘Up To Scratch!’ is a qualified success that is jam-packed full of goodness.