Following on from Volume 1 in this new series ‘Koko Mojo Diner – Soul Food Volume 2’, there is much of the same goodness to be discovered for those looking for something a little different when it comes to compilation albums. With its focus on food, and particularly “soul food” originating from the diets of African Americans, the second instalment of this album series focuses on vegetarianism. As with Volume 1, there is a history lesson to be had with the liner notes detailing African Americans being dependent on “plant-based diets” due to meat being a luxury for impoverished individuals and families of America’s Deep South with slavery still in existence. Focusing on the contents of the music, then Volume 2 opens with a blast of jump blues via Wynonie Harris and ‘Git With The Grits’.  There is a charming ramshackle sound to Bill Parker and his Band and song ‘Sweet Potato’ with lyrics rotating around the subject of its title, and later Garry & Larry providing ‘Garlic Bread’, which really could be about waiting for that lovely loaf of goodness baking away in the oven or quite simply about any topic given it’s an instrumental. The Ink Spots sing about everyone’s sweet favourite with the irresistible doo-wop of ‘Do-Nuts’, not to mention other tempting treats by way of some beautiful vocals from Marvin & Johnny during ‘Cherry Pie’. Heading towards the finale of this compilation, not one but two compelling blues numbers are aired via Sonny Terry & Brownie McGhee with ‘Custard Pie Blues’ and ‘Cornbread and Peas’, before switching to jazz/blues of Julia Lee & Her Boy Friends and healthy eating ‘The Spinach Song (I Didn’t Like It The First Time)’ which, musically, is instantly likeable compared to its subject matter. Another fine selection of tracks that are full of variety and will see many a return visit to this diner that is ‘Koko Mojo Diner – Soul Food Volume 2’.

Produced and engineered by Rawand Baziany at Black Shack Recordings, the duo known as Black Patti dust down the musical instruments and blowoff the creative cobwebs to deliver a brand-new long player under the cheery title ‘Satan’s Funeral’. Well, with this being the blues and all, what else does one expect? Homing in on the finer details, eleven tracks make up ‘Satan’s Funeral’ with religion and associated faiths being the talking points throughout this current offering. Relaying stories of religious beliefs set to music when blues came together with gospel sends the listener back to bygone eras, especially when listening to the pared back simplicity of ‘Be Ready When He Comes’ where the dual vocals of Peter Crow C. & Mr. Jelly Roll and the stringed instruments (namely guitar and mandolin) are compelling in their delivery, creaking out its rhythm and giving suggestion of straining in their endeavour to advise caution regarding its contents. Caution is probably the correct wording here, but more importantly heeding such cautionary notes especially when songs declare ‘God Don’t Like It’ for example. There is much suggestion, however, that the track list plays out a singular narrative of one individual who realises the errors of their ways and, in doing so, seeks redemption at every possible turn. Such ideas can be found during Hank Williams’ country gospel ‘I Saw The Light’, presented here in uplifting manner by ‘I Saw The Light (II)’, to soul-searching couplet of gospel/rustic bop induced ‘Woke Up This Morning (With My Mind On Jesus)’, and followed by deeply meditative ‘Where Is That Place’. A brave album considering (for many) the secular times we live in. Despite this, Black Patti draw much attention to their latest album by means of their inventiveness and abilities to recreate an authentic sound, where one cannot help but fall under its spell and heed the words of its final song, “Get On The Road To Glory”. Amen to that.

Following up Volume 2 of this rather exciting series is, well, you guessed it, Volume 3! Featuring another twenty-four tracks fit for your dancing and listening pleasures, the “Mojo Man” is responsible for brewing the ideas and artists featured on this compilation series. The choices selected range from the well-established to slightly more obscure, which is bonus appeal for anyone’s money. Exploring the contents further, Volume 3 features more of the same greatness as its predecessor where rhythm and blues plays a prominent role and supported from all sides with some tasty blues treats and tinges of early soul. A good starting point (All opinions welcome of course) if you are looking to jump straight in can be found via the blistering pace of The Hollywood Flames ‘Strollin’ On The Beach’. Jumping back to the other end of this fine compilation, then the “happy-go-lucky” approach of The Guytones’ ‘’Baby I Don’t Care’, complete with doo-wop vocals and equally cheerful rhythm is likely to keep the spirits up especially in terms of the dancefloor. But it is the variation in styles when it comes to rhythm and blues because these songs are equally at home on a sound system considering the almost disorderly approach of The Nightriders ‘Lookin’ For My Baby’ where instruments sound as if they are overlapping each other or attempting to pull in different directions and therefore complementing the anxiety expressed by the vocals. It is these very tales of real life and all it highlights and woes that make this more than a simple collection of “Dancefloor killers!” because even though these songs will fulfil their promise of filling the dancefloors, there’s much to contemplate and revel in from blues rhythm of Jimmy Anderson’s ‘Naggin’; Howlin’ Wolf with ‘Poor Boy’, to The Penguins ‘Money Talks’, making this a must-have album for all rhythm and blues connoisseurs.

After the glorious reintroduction to the ‘Southern Bred R&B Rockers’ series by means of recently issued Volume 13, the next instalment has been greatly anticipated. First impressions suggest ‘Southern Bred: Louisiana & New Orleans R&B Rockers Vol.14’ is ticking all the right boxes with its standard twenty-eight tracks and mixture of more familiar artists with a few less familiar. Once underway, the music reveals itself to be of the usual high standard, with full marks to Dee Jay Mark Armstrong once more for setting up this new album in rather fine style, beginning with Eddie Bo ‘I Love To Rock ‘n’ Roll’. From there Little Sonny Jones continues this excellent start by inserting more rhythm and blues into this musical cannon and offering some interesting words that appear to be referring to intoxicated highs and losing every dime this musician owns. Jesse Thomas offers more of a measured beat, and fittingly so given the pensive nature of the lyrics. There are wild instrumentals from Paul Gayten and His Orchestra and track ‘Cow Cow Blues’, to rhythm and blues bordering with rock ‘n’ roll examples from Larry Williams ‘You Bug Me Baby’, Fats Domino ‘Bo Weevil’, and Frankie Lee Sims ‘Hey Little Girl’.  With the inclusion of Classie Ballou and His Tempo Kings Orchestra ‘Loving Huggin’ Kissin’ My Baby’ offers variation considering the familiar names of Champion Jack Dupree, Buddy Guy, and Slim Harpo, and even further leftfield the listener will discover the rare oddity that is ‘Bald Head’ from Roy Byrd and His Blues Jumpers. As with the previous volume, Volume 14 of the ‘Southern Bred’ series never disappoints.

Heading in a different direction for this new collection of tracks on the Atomicat record label is the CD offering ‘Whip Masters Instrumentals Vol. 1’. Filled to the brim with “Thirty stylized instrumentals with the occasional vocal-shout out”, this album will undoubtedly provide plenty of thrills as it will much variation given the inclusion of tracks stemming from the genres of rock ‘n’ roll, rockabilly, surf rock and rhythm and blues. Opening this account is Dave’s Travelers with ‘Traveler Rock’ and then followed by Hank Moore and Orchestra and ‘Sour Mash’, which lights up this album mainly due to a very energetic and heated saxophone. Keeping the wild rockin’ momentum going is the very intriguing Jay Hodge Ork. featuring Lloyd Rowe on guitar and track ‘Goatsville’, which is a rollin’, rollicking instrumental and one that has been skewered by western film scores and rock ‘n’ roll and therefore setting creativity on high. In other words, absolute genius! Other places you will find Bo Didley leading the creative charge with the inventive ‘Bo’s Bounce’, where the fingers really do the talking as far as the guitar is concerned, and similarly but by means of piano this time Hadda Brooks skilfully puts said instrument to work during ‘Teenage Boogie’. As with these compilations there’s often a surprise or two and that can be heard with less known and certainly humorous Space Man With The Rockets’ ‘Cave Man Love’, but more notably for the inclusion of modern artists turning their attention to sounds of old and in this instance Urban Zotel and detailed guitar excursion ‘Blastin’ Off’. Throw in an obscure surf instrumental from Yugoslavia circa 1963 by the name of ‘Strijele’ by Bijele Strijele and ‘Whip Masters Instrumentals Vol.1’ is not only worthy of one’s attention for its sheer quality, but offers a collection with that little extra difference that is lacking on similar instrumental album releases.

Following commandment number four in this first-rate series is ‘The Ten Commandments Of Rock ‘N’ Roll – Commandment Five’, which turns its attention on forming a partnership. Therefore, with strong connections to the previous album, which centred on love, the fifth commandment sings the praises of cementing that bond with a meaningful relationship. To help the listener understand in more detail, Dee Jay Mark Armstrong selects the songs for this playlist with tracks stemming from the genres of rhythm and blues, rockabilly, and rock ‘n’ roll. Housed inside the uniform trifold digipak complete with liner notes detailing the artists involved, the album gets underway with Billy Brown and ‘Look Out Heart (Here Comes Love)’ that has more in common with its release year of early 60’s pop than anything associated with rockabilly of the 50s. Similar tracks follow with Roy Tyson ‘Oh What A Night For Love’, and Chuck Reed with Hugo Peretti and His Orchestra and song ‘Let’s Put Our Hearts Together’. Fear not though, for those expecting something a little rougher around the edges via a taste of rockabilly, then Carl Perkins gladly obliges with the infectious ‘Glad All Over’. Gene Wyatt continues in a similar fashion by cranking out an irresistible slice of rockabilly via ‘Love Fever’, before handing over to the always consistent Mac Curtis and track ‘Say So’. Despite this, the pop song dominates more often on this latest album, adding variation to previous volumes of this series and something to be welcomed given the inclusion of Johnny Carroll’s dreamy, melancholic ballad ‘Lost Without You’, and Johnny Preston’s reaving his passion for the ‘Kissin’ Tree’. There is even room for some Brit rock ‘n’ roll via Cliff Richard and The Shadows’ ‘I’m Gonna Get You’. But it is the detailed guitar stroll of ‘Sweet Baby Of Mine’, not to mention forceful vocals of Ruth Brown which, combined, turn this into a moody and angst-ridden piece that claims first prize. If these songs are the steps to forming a partnership and leading to an overall feeling of “Glad All Over”, then count us in!