Having undergone one or two line-up changes since debut album ‘ Rev Up, Burn Out’, the change in personnel has definitely not subdued The Cheaterslicks momentum. If anything, new album ‘Rock ‘n’ Roll Graveyard’ is a considerable leap forward in the department labelled ‘variation’ compared to its predecessor that was more foot to the floor rockabilly and therefore living up to its moniker.

Despite opening song ‘Bayou Boogie’ suggesting a repeat of their previous winning formula, the band opt for more challenging terrain by letting in the blues and adding a country twang or two. Once ‘Don’t Ya Know’ swoops in on a lovely vocal drawl and claims your heart within a matter of seconds, it is clear The Cheaterslicks not only have a major hit single on their hands but also the creative department is under exploration. ‘Betty Page (Let’s Talk About Love)’ adds further weight to such ideas due to its playful taunts rubbing up against the serious declarations given by lead vocalist Paul Newman as it is played to a slight country beat, which is stretched further with the unreciprocated love of ‘Tears Heartaches & You’. The western feel of ‘Desert Wind’ completes this (almost) trilogy of country-inspired songs, bearing in mind the raucous ‘Nothing To Lose’ sandwiched in between, and reveals Newman’s depth of vocal delivery (head to the magnificent ‘Blonde Blue Eyed Beauty’ for further evidence).

‘Bad Bad Girl’ sees The Cheaterslicks comparing notes over a few rounds of drinks with label mates The Wolftones as it’s reminiscent of the latter’s blues-inspired numbers with its strutting beat and tight harmonica.

The rumbling and shaking instrumental ‘Gasolina’ unveils further facets to this album, which is nicely balanced with the restrained rhythm of ‘Honey Bee’, pleading for its ‘baby’ to come on home, only to be usurped by the outlaw quality of ‘Forgotten Places’.

Clocking in at a sizable 18 tracks, ‘Rock ‘n’ Roll Graveyard’ will severely test the patience of those more attuned to the present culture of downloads whereby a handful of songs more than suffice. As it stands, The Cheaterslicks seem to be hitting a rich vein of form, and one that is not afraid to experiment, as the majority of ‘Rock ‘n’ Roll Graveyard’ reveals a winning formula to rival any in the modern rockin’ stakes.

Latest export on the Enviken label is Sweden’s Fanny Mae & The Dynamite Believers with the rather magnificent ‘Live Love, Give Love’. Thirteen songs ranging from varying degrees of rockabilly and rock ‘n’ roll with added swing and a knowing pop sensibility that sets out this debut as a little bit different. Such indications are clearly signposted in the dark undercurrent flowing through ‘Condition Unknown’ and the ballad-esque ‘Rocket Scientist’ with both giving way to the possibility of crossover appeal. There is of course more familiar territory with the rockin’ and gritty ‘Right Here Again’ and seriously infectious soda pop inflections of ‘Hipshakin’ that will even have the normally restrained amongst us shaking their limbs. ‘A Place In My Heart’ reveals a lilting chorus that catches you unaware and soon claims your heart whereas polar opposite ‘Can’t Stand Your Love’ has more than a whiff of Buddy Holly about it. With a more than competent cover of Bobby Darin’s ‘Dream Lover’ possessing glimpses of sunlight, especially when the vocal reveals its rawness, to the cautionary tale of ‘Time Don’t Heal Every Wound’ and gallows bound ‘Stand Up’, ‘Live Love, Give Love’ is a prime example of a band leaning on the past yet equally at home in the present.  

It is not difficult to comprehend why Ruby Ann is one of German-based record label Rhythm Bomb’s top earners when hearing the wondrous vocals and authentic musicianship stemming from ‘Mama’s Back’. The belting R&B influenced ‘Call His Name’ sets the tone admirably but more notably for revealing the ace in the pack with Ruby Ann’s nothing short of compelling vocal delivery. In fact, it’s hard to differentiate between time periods throughout the entirety of the album as one literally feels transported back to a fifties era when things were perhaps a little simpler (‘I’ll Never Get Rich’) due to the authenticity of ‘Mama’s Back’. With leading contenders for such assertions being the chugging rockabilly ‘Do Right Mama’, ‘Baby I Don’t Care’ and defiant ‘No I Won’t Cry’, one can at least rest in the comfort that artists such as Ruby Ann is one of the forerunners for replicating a retro sound but within a modern framework of original material. With a new album set for release on the not-too-distant horizon, Ruby Ann will no doubt be securing more deserved success when that time is upon us. In the meantime, bask in the retro glory of ‘Mama’s Back’.

Predominantly a covers affair with a mammoth eighteen tracks to consume, The Bird Doggin’ Daddies ‘We Got The Bug!’ does not outstay its welcome. This is largely due to the frenetic pace of the chosen covers, revealing en veldig god smak, but also the deft musicianship that binds these driving rhythms together. There is a certain freshness about the manner in which this four-piece attack versions of ‘Daddy-O-Rock’ and ‘We’re Gonna Rock It’ nearly claiming both numbers as their own because that’s exactly the impression given throughout due to confidence riding high yet not without an abundance of respect given to the originals.

It is this very same self-assurance, however, that needs to be leaned on further when it comes to the band’s own compositions because when The Bird Doggin’ Daddies rely on their own compositions they more than stand up to the covers being offered here. Look no further than the guitar pickin’, rockin’ belter that is ‘Better Be Gone’ and even more compelling low-slung ride of ‘Crossbone Jim (Mystery lane)’ suggesting a band with a lot more in their locker than is currently being revealed. As it stands, ‘We Got The Bug!’ is stunning in its execution and a teaser until the next instalment where it is hoped The Bird Doggin’ Daddies state their authority further with an album full of original compositions.

As far as rockabilly revival albums go, they don’t come much better than this. Rusti Steel and The Star Tones have done it again with a supreme batch of authentic sounding rockabilly numbers that would easily find a home in the 50s. ‘Baby, Won’t You Baby Me’ is a prime example of this authentic delivery with its high desires matching the pacey tempo and equalled by the guitar-driven ‘See My Baby Rock’. It is the rip-roaring ‘Prisoner Of Your Charms’, however, that really competes for supremacy here, and suggests that Rusti and The Star Tones are more than capable of turning it up a notch or two. Despite being a tad too long at fifteen tracks, ‘Café A-La Rock’ is leading proof that Rusti and his Star Tones are governing the pack when it comes to the rockin’ circuit of revival bands.

Currently touring the length and breadth of the UK due to popular demand as none other than Chas & Dave, ‘Together We Made Music’ sees Chas Hodges flying the flag alone in a tribute to some of the great musicians he has had the pleasure of working with whether as providing backing support or merely strumming a few well-known ditties with the likes of The Beatles or Cliff Richard. Such details can be garnered from the comprehensive liner notes that are as compelling as the covers selected for this solo effort such as ‘Bring A Little Water Sylvie’, ‘Crazy Arms’ and tribute to Screaming Lord Sutch ‘Don’t You Just Know It’. It remains, however, closing number ‘Where Am I Gonna Find Ya’ – a Hodges and initial starting point for co-writer Dave Peacock to pen their own contribution – that really sticks in the throat and offers a timely reminder of why the duo are held so affectionately.