An appropriate album title for The Sidewynders with ‘Let’s Go Sparkin’ With…’ as there is a real energy fizzing between the grooves of the majority of songs, but also there is much to get incensed about judging by the angst that relationships can (sometimes) bring and reflected here. Beginning with the sprightly sounding ‘Lyin’ Baby’ with added steel strings, the contents of this song reveals a different tale, however, and one of a relationship that went sour and now replaced with resentment as indicated by the parting shot, “I hope that you live life with regret, with my heart you are in debt, because baby – baby what you done to me is lowdown dirty crime”. This is why The Sidewynders matter so much because they really do care about their feelings and the state of their music which, by the way, is as every bit skilled as the ideas and personal reflections scribbled here. Unfortunately, for these cool cats, the relationship stakes fail to see an improvement as far as luck goes, but it all makes for compelling listening which, combined with the dextrous guitar and light rhythm of ‘Fancy Free’ and followed by the rockabilly and severely broken heart of ‘No Shame’, The Sidewynders know something about turning misery into sheer delight. There is a touch of the Bill Haley’s with the percussion entrance of ‘Dry Run’, which proceeds with a similar rhythm to ‘Jailhouse Rock’, and then catching a second wind with the breezy tempo of ‘Closer & Closer’ that showcases some fine vocals. Just before last orders is called though, The Sidewynders up the ante further, as far as any competition is concerned,  by revealing the creative delight that is ‘She’s Got It Made’, taking its inspiration from big band and swing and offering superb interchanging and dual vocals that makes our life definitely complete!

The evolution of rockabilly and rockin’ sounds continues by way of Bakersfield with Bear Family’s second chapter titled, ‘The Other Side Of Bakersfield’. With in-depth liner notes and super rare photos regarding these particular artists of the 1950s and 60s and the record labels involved,  the usual care and attention from Bear Family is applied to the entire package as volume two of the Boppers and Rockers from Nashville West is on equal par with its predecessor. For example, the same quality and breadth of creativity is found throughout ‘The Other Side Of Bakersfield Vol. 2’, but where this differs slightly is the evolving sound of the musicians involved, edging closer to a fuller-sounding rockabilly description, to cite one example, that is beefed up and tighter in its execution. Particular delights of this second instalment include the ever reliable Ferlin Husky with ‘I Feel Better All Over’; the ballad-esque ‘Teenage Tears’ from Cliff Crofford; the wonderful off-kilter delivery and in line with its narrative of Corky Jones’ (Buck Owens) ‘Rhythm and Booze’ and George Weston’s rockin’ ‘Hey Little Car Hop’. Special mention goes to the sublime ‘Can’t Go On’ with a vocal to melt the sternest of hearts that leaves one to ponder why the name Dallas Frazier was not exalted to greater heights despite achieving success as a songwriter for a host of artists. A superb second volume, ‘The Other Side Of Bakersfield’ is worthy of high praise indeed.

Fourth instalment in the Rockabilly Roads series that sees no let-up in terms of quality control with a plethora of modern-day rockabilly and rock ‘n’ roll artists touting their own creative writings rather than adding a fresh spin on an old cover. The ‘jungle’ theme given to this fourth Rockabilly Roads volume is more about the red-hot electricity coursing through more or less each and every track rather than anything specific coming out of the wilderness. First indication of such a scorching atmosphere comes by way of Mike Barbwire & The Blue Ocean Orchestra with their ‘El Sótano Calling (S.O.S ROCKN’ ROLL), which is an instrumental with a Latin flavour coupled with a stinging guitar, monstrous sax and surprising turn of events with a brief yet wondrous string section midway that sets the bar incredibly high for the rest of the competition to follow. After such a magnificent start, Swedish rockers and regulars to the Rockabilly Roads series, John Lindberg Trio do not let the side down by way of their usual high standards of consistently good rock ‘n’ roll with knowing pop sensibilities that is ‘Hit Me’. Where John Lindberg Trio add a modern gloss to the rockin’ revival, Ruby Ann’s ‘You Gotta Pay’ and subsequent Honeyboy Slim & the Bad Habits ‘Screamin’ Mimi Jeanie’ really drum up a sense of nostalgia with authentic takes on a 50s sound; the former a mid-tempo setter that is commanded by Ms Ann’s compelling vocal, whereas the latter is a full-blooded rocker and reminiscent of Jerry Lee Lewis. It remains this very balancing act between replicating an inch perfect rockin’ 50s period sound, and one that stems from the same origins but with various additional elements providing a more up-to-date feel (20th Flight Rockers, The Caezars, Reverend Horton Heat), which is why this rockabilly series truly works.

The mood of this first ever album release by Dale Rocka and the Volcanoes is definitely one of celebratory, as suggested by its title and visually explicit by the ultra-cool artwork gracing its exterior. At the heart of the album’s rockin’ contents, however, is some real cool cats who remain hell-bent on letting their hair down after a fifteen year stretch that has seen countless live performances and various recordings, but never as a four piece until now. So without further ado, ‘Jump into The Midnight Ball!’ is all you can do because its rockabilly rhythms are simply irresistible and will have you moving those limbs until the early hours, such is the relentless pace. The preparation for the festivities at hand starts appropriately with ‘The Midnight Ball’, which has a touch of Bill Haley & His Comets about it, and serves as the ideal ‘warm up’ for what’s to follow. Dale Rocka – real name Massimo Rocka who is responsible for the majority of the songwriting – and his explosive cohorts reveal their wares without any hesitation during standout track ‘Bad Blood’ with its gritty guitars sounding borderline garage rock and Dale’s vocal reminiscent of Darrel Higham on occasions. There is a real glint in the eye with the superbly titled ‘Mama Bring Back (My Blue Suede Shoes)’ that contains a subtle humour, despite being down in the deep end, and reveals the band’s creativity to a large extent, especially when it comes to failing to namedrop the song’s title at every opportunity, which is a refreshing addition. ‘Rag Mop’ is nimble on its feet with a frantic yet light(ish) sounding rhythm and skilful guitar that is brought to the fore. Taking the festivities down a notch, yet remaining consistently compelling with its grungy guitar sound and distortion in the vocal, is the whipping into shape demands of ‘That’s Why I Tell You’. Such advice is soon forgotten, however, once the inventiveness of ‘Remember Last Night’, with its amusing touch of giving the impression of an ‘extra voice’ trying desperately to recollect the morning after the night before, is played out to a brisk tempo and shuffling rhythm. Dale Rocka and the Volcanoes have just had one hell of a party with ‘Jump into The Midnight Ball!’, the good news however, is that this particular midnight ball is open and available to all, and it is one that will not let you down.

Bringing things up-to-date is the latest compilation in the ‘Rockabilly Roads’ series that packs a persuasive punch with a whole line of neo-rockabilly artists from around the globe offering a modern sheen on the rockabilly genre with nearly all original material. Many of the artists present will be familiar to those in the know, with such examples as Big Sandy & his Fly-Rite Boys, John Lindberg Trio, Pep Torres and Mike Bell & The Belltones. With a selection of eighteen tracks to whet the appetite, ‘Rockabilly Roads III’ succeeds in its concept as each and every band, while sourcing their inspirations from the fifties era, sounds current. Evidence of this modern spin on the rockabilly genre comes by way of Fanny Mae & The Dynamite Believers with their infectious ‘Hipshakin’, that sees the band strutting their wares across the chequered flooring of the local diner, only the year is now rather than the late fifties. Boz Boorer pops up with a burly cover version of ‘Cast Iron Arm’ whereas the domineering vocal and guitar of The Caezars excellent ‘Heartache Overload’ claims first prize. The unfortunately named Fatboy garners serious attention with its Roy Orbison meets Chris Isaak vocal delivery during ‘Walk Your Way’, only to be rivalled in the quality stakes by a compelling duet by way of The Hillbilly Moon Explosion with ‘My Love For Evermore’. Pick of the bunch, however, is the hard-edged rocker that is ‘Ride My Bike’ courtesy of The Troubled Three, closely pursued by a recurring theme involving motorcycles with the modern classic that is ‘The Norton Spirit’ by the mighty Blue Cats. At last, a compilation for those supporters genuinely interested in the current wave of rockabilly bands hell-bent on keeping the original rockabilly spirit alive but with a modern twist as ‘Rockabilly Roads III’ successfully displays.

One of the definite highlights at last year’s Rockabilly Rave, the Rhythm River Trio return with the playfully titled ‘Just Honky Tonkin Around!’ With the proud announcement of ‘Twelve smashing tracks in true mono’ adorning the sleeve, the Rhythm River Trio certainly live up to this declaration by offering a factually brief set of songs that actually feels much longer, which is a compliment due to the amount of creativity crammed into the shortest of time spaces. In addition to the twelve songs, the Trio has managed to capture a truly authentic ambience as one feels transported to a fifties setting expertly handled by Sugar Rays Vintage Recording Studio. Flexing their talents over a soundscape incorporating elements of country with, of course, a flurry of rockabilly, the Rhythm River Trio turn on the style from the off with the marvellous ‘Honky Tonkin Around’, compellingly told by lead vocalist David Short and with the song picking up an extra yard with some wonderful guitar halfway through. ‘Drinkin Wine Spo-dee-o-dee’ and ‘Oakie Boogie’ have certainly paid their dues here, as elements from both songs are present before quietly tiptoeing to the cover of ‘Teardrops From My Eyes’ and, more notably, during the band’s self-penned ‘Monday Mornin’ that is full of vigour despite its bleary-eyed central character searching for a saviour. ‘Love Come Back To Me’ received an airing at the previously mentioned Rockabilly Rave and revives some hazy memories of our own due to the forceful manner by which the song infiltrates the senses with its gradual and later incessant picking of guitar, prominent upright bass and lovely drawn-out vocal that leaves nothing but warm memories. It seems, however, that the Trio saved their severest of heartbreaks for the final two outings with ‘Gone And Left Me Blues’ and ‘I’ll Go My Way’. The former of the two songs is at one moment full of bitter resentment and at others sounding utterly desolate, which is full credit to the band due to a convincing vocal played out to a moody rhythm the kind of which Johnny Cash would have been proud. This is finally topped off by the more gentle sway of the aforementioned ‘I’ll Go My Way’ with its brilliant yet desperate request, “Just tell me one time that I’m on your mind”. On the evidence of ‘Just Honky Tonkin’ Around!’ the Rhythm River Trio is one of the finest in their field.