VARIOUS ARTISTS
‘PHANTOM ROCKERS VOL 4 – WHO BABY?’
(Atomicat)
A fantastic and varied compilation featuring artists who recorded either as backing musicians or as singers either unsung or behind a mysterious nom de plume. There are a couple of much loved tracks which most people will be familiar with ‘You Oughta See Grandma Rock’ Skeets McDonald but most of the 30 here are new to me, or at least recordings that are on the road less travelled. The compilation runs the gamut of styles but works brilliantly for a varied listen with no filler to skip with tracks mostly from 1958 to 1960. I am reviewing these from downloads so don’t have access to the liner notes which I’d love to read, as I said a lot of these tracks are new to me, I want to know who these guys are and I’ve been listening to this music since the late 1970’s. It’s amazing how much rocking stuff is out there, whoever compiles these does a great job.
Simon Nott
ELVIS PRESLEY
‘ON TOUR 1974 AMARILLO TEXAS’
(Memphis Recording Service)
Recorded at the Civic Center Auditorium Amarillo Texas on the 19th June 1974 where we find Elvis in a chatty mood and in top form all round, his pipes get a real workout on several of 20 tracks on here, not least a rousing version of ‘Tryin’ To Get To You’, James Burton is on top form and very audible on this recording, which highlights his mighty fine picking. There’s a fair mix of material here where Elvis rattles through the rock n roll numbers which oomph rather than giving them lip service. There’s just under an hour’s worth here, another joyous Elvis gig captured in excellent quality, the CD version I reviewed from is packaged in hard card with photos and a contemporary review of the night, terrific stuff. Keep them coming MRS.
Simon Nott
KING SALAMI AND THE CUMBERLAND THREE
’16 KNOCKOUT HITS’
(Damaged Goods)
Well, if there was any justice in the world the 16 tracks here would indeed have been knockout hits. The days of music this much fun ever bopped into the consciousness of the square record buying public are long gone, but hey, the cool kids know the score. Talking of scores, this album is a rip-roaring best of compilation to celebrate 20 years of King Salami and the Cumberland Three in all their glory making consistently great rock n roll for our listening pleasure. The first time I saw these guys, at Dingwalls which much have 15 years ago, they blew me away, this compilation did too, it’s huffin’ puffin’ voodoo boogie overdose to get up and lose it too.
Simon Nott
VARIOUS ARTISTS
‘ARKANSAS ROCKS’
(Bear Family)
The sleeve notes of this compilation take us on a town by musical town trip across Arkansas where it’s argued they rivalled Memphis for accolade of the birth of rock n roll, we’ll never know but probably will never tire of arguing about it. What’s not arguable is that despite not actually having recorded the first pioneers of rock n roll they were still playing and recording it a good decade later and beyond. A good chunk of this 25 track CD hails from the 1960’s when these artists would have been beyond that first flush of youth that rock n roll stars required back in those days, in fact rock n roll was already out of fashion, it didn’t stop these guys though, Larry Donn’s ‘That’s What I Call A Ball’ was actually laid down while it was still the 1950’s and rocks as hard as anything from that era though he’s still at it playing piano on Kenny Owens’ ‘Long Lost John’ from 1969 a whole decade later. There’s a distinctive Arkansas ‘louche’ feel to much of these recordings, not least Bobby Lee Trammell who gets to kick things off, the playing effortless and vocal delivery effortlessly cool, this is Vol 1, I’m already excited for volume 2.
Simon Nott
VARIOUS ARTISTS
‘PHANTOM BLACK ROCKERS VOL 1 - ROCK N ROLL JUNGLE'
(Koko Mojo)
This is the start of a series that has got me licking my lips for what is to come, Phantom Rockers of black rock n roll from artists that are either unknown or recording under false names for what ever reasons. Given the premise of the series, it’s hardly surprising that most of these artists are new to me. If you are starting to think that the barrel must have been scraped to come up with a cracking compilation like this, well think again. The people that put it together have done a great job with the track listing mixing the styles that qualify under the broad musical umbrella I’ve already described. There’s hard honking tuff, doo-wop, jumping blues and some novelty but it all rocks, what a wealth of great music there’s still out there, praise the lord for Rockstar Records, Cal Coalminer and all those involved with this ‘Bip Bop Bip!’
Simon Nott
THE HOLLOWAY ECHOES
‘CARRY ON ECHOING’
(Western Star)
They are back with more unashamedly British rock n roll where Pat Winn brings an authentic voice to some excellently witty self-penned songs by (mostly) himself and Alan Wilson. ‘All Asses Must Be Shown’ and ‘Brylcreem’ kick things off in an upbeat and smile inducing manner though it’s not all carry on and inferior hair grease ‘The Law Must Take Its Course’ is a poignant look at the execution Ruth Ellis, while ‘Watch My Records Play’ is an ode to just wanted to be alone, the observation of the song-writing is fantastic, there’s a we are all getting old feeling to much of the words, though the music, still firmly in the timeline of those lyrics mostly bounces along. I’m pretty sure most listeners like me will hope ‘Monoped Ted’ is a real chap and that many more weeks than the allotted 4000 weeks will have passed before our last days on Earth. The Holloway Echoes have pretty much created their own genre with their recordings we just need a name to coin it.
Simon Nott
MARTY WILDE
‘LET’S ROCK THIS PLACE’
(Cherry Red)
It’s been a while since one of the UK’s most revered genuinely homegrown rockers Marty Wilde first walked into a studio to lay down some tracks. This latest recording was inspired by the demise of the Wildest Cats In Town festival and witnessing Darrel Higham’s guitar solo played on stage there on its swansong. After encouragement from his wife, Marty put pen to paper to write some rocking songs, chose some suitable original favourites to cover then in collaboration with Darrel Higham, Tony Hillebrandt, Adam Miles and friends cut this album. Marty still oozes rock n roll class while the band have the talent to do him justice. The self-penned songs really do stand out, for the best will in the world there are some songs that you’ve heard enough covers of, however, this version of The Police’s ‘Can’t Stand Losing You’ really does work in here, a great song done differently, one of the highlights of an album from one of our rock n roll luminaries.
Simon Nott
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