Here's a sample article plus a few reviews of some of our favorite titles across the spectrum of music styles covered in a recent issue of Blue Suede News (#45)! There are about100 CD titles reviewed each issue (in our earlier 68 page issues - #33 thru #55 - there were as many as 200 reviewed!). You'll also see a few of our covers, and some Tidbits from the Tidbit Jukebox, a feature which appeared in each issue (issues 27 - 55)! Issue #42 also had a much more extensive article on Carl Perkins' career by Dr. Howard A. DeWitt, one of our contributing editors and author of several books on rock'n'rollers and popular culture. And of course much more than that! Meet Our Contributors!

Each issue since #67 has several pages of color photo layouts like this! (color ads too!)
Here's a sample page from issue #72! There's more to the interview - order your copy at: #72 order page

Clayton Perkins, W.S. "Fluke" Holland, Carl Perkins and Jay Perkins onstage at the Big 'D' Jamboree in Dallas, Texas, June 1956. Photos courtesy David Dennard & Ed Watt.

Memories of Carl by Marc Bristol   Quite obviously Carl Perkins' song "Blue Suede Shoes" was the inspiration for the name of this magazine. The song was recorded or at least performed by virtually every major or minor rockabilly artist, and though Jimi Hendrix's version of the song is dreadful, he too, did record it. But Carl was an inspiration himself, for a lot more than that song. To my deep regret, I never met the man, but I've hung on his words through interviews over the years, and his humility and genuine caring for his family and his friends in the music business always shone through. It was always my intention to honor Carl with the cover, but when we did so with issue #23, I wound up somewhat disappointed with the result. I wish I'd had a better photo for the cover, and Lee Cotten's article on Carl inside contained at least one glaring error that still mortifies me. It was claimed that Carl was the brother of Johnny Cash's sideman Luther Perkins, who in fact was a cousin of Thomas Wayne Perkins ("Tragedy"), but unrelated to Carl. They were certainly brothers of the road, though.

Carl Perkins backstage at the Big 'D' Jamboree, 1956 - cover photo, issue #42

The article also failed to mention Uncle John Westbrook, the black neighbor who taught Carl a lot about guitar playing (and sold the family Carl's first guitar), particularly the bluesy side of Carl's sound, and of course the Blind Lemon Jefferson song "Matchbox" - one of Carl's classic numbers. Since Carl is certainly one of the most important influences on the rockabilly sound and rock and roll, this seems particularly significant to me. Black musicians directly influenced Bob Wills, Jimmie Rodgers, Bill Monroe, Hank Williams, Carl Perkins, Billy Lee Riley, and many others. In turn Carl has influenced countless others, including yours truly. A new subscriber to BSN, who lives near the Perkins family in Jackson, Tennessee, has told me he was present at Carl's last recording session, at which Perkins was recording songs for a John Fogerty tribute. No doubt there will be another Carl Perkins tribute disc ("Go Cat Go" should qualify, with the number of luminaries joining Carl), and when it comes out we'll see a list of stars who have been inspired by Carl's music. In my own case, I was given the Beatles album "Beatles '65" (called "Beatles For Sale" in U.K. release) for Christmas that year. Having been excited by Beatle records like "Twist And Shout", "I Saw Her Standing There", "She Loves You" and "I Wanna Hold Your Hand", I was kinda disappointed by the general down tone of virtually all the original Beatle songs on that album. "Baby's In Black", "I'll Follow The Sun", and especially "I'm A Loser" made me realize that mega fame had a horrible price for these interesting guys. On that last song, I had to assume John Lennon (I was quite sure that since he sung it, he'd written it in the main) was serious, not just trying to write a cute pop song. It certainly made me have second thoughts about becoming a rock star, probably enough to stop it from happening if there had ever been any danger. But the album's redeeming feature was the two Carl Perkins songs and the Chuck Berry classic "Rock And Roll Music". These songs were steeped in the groove and sense of fun that was what rock and roll meant to me, and still does. I've grown to appreciate those other songs on the LP too, but the classics they covered are still my favorites. By that time Carl's career had pretty much foundered here in the states, but his tour of England showed him that there was still an audience for his unique and wonderful hillbilly rock and roll. I watched (and taped) the TNN special "The Life And Times Of Carl Perkins", and interstingly, though this is supposed to be a country music network, only Carl's rockabilly and rock and roll are featured, though a couple of his hillbilly sides were mentioned. To me, Carl's songs like "Turn Around" and "Sure To Fall" are just as good as everything else he did. And I think anyone who doesn't like Carl's hillbilly side doesn't understand either the man or his music. I was especially happy when Ricky Skaggs asked for "Turn Around" during Carl's appearance on the "Monday Night Concerts" show. Carl said it was the first song he ever performed on that Ryman Auditorium Stage, during his first Grand Old Ory performance. My assignment for this article was to discuss Carl's influence on other artists. One thing Howard DeWitt failed to mention in his article is the fact that Carl is the one who suggested that Jerry Lee Lewis try standing up to play the piano. He probably should have bought stock in a piano stool manufacturer the next day. Carl joked about how he and Johnny Cash thought maybe he should have kept his mouth shut - and certainly Lewis' meteoric rise after that consumed Sun Records' meager resources for promotion, forcing not just them but also Billy Lee Riley and others to jump ship to other labels. But Carl's perspective returned when he kicked booze one cathartic day in California. He had a loving wife, kids who grew up to follow in their father's footsteps and even play with him in his band, and the ability to make a living doing what he enjoyed the most - playing and writing music. He said on the TNN special that he never would have wanted to trade places with Elvis Presley, so perhaps folks should stop emphasizing the notion that he lived his life in Presley's shadow. Lee Cotten's BSN article tended to read like a catalogue of Perkins' commercial failures, when I'd have rather it were a tribute to Carl's artistic successes, which are many. Since Johnny Cash suggested Carl write "Blue Suede Shoes", perhaps it's appropriate that Carl never got credit for writing the music for "A Boy Named Sue" on the spot just before the famous "Live At Folsom Prison" show. But it's something that we should all know just the same. Cash did hire Carl to replace Luther Perkins after Luther died, and let Carl sing some of his hits in the show, and he cut Carl's wonderful "Daddy Sang Bass". Once again Carl and Luther were brothers of the road, but in a different way. I certainly miss Carl already, though I've been listening to all the recordings I have, especially the fabulous Bear Family box set. I wonder, does anybody know where I could obtain Carl's Universal title "Born To Rock" on CD? The borrowed cassette I had disappeared when it went to be halftoned for the issue we reviewed it in. Special thanks to David Dennard (of Dragon Street Records), who sent me these Big D Jamboree photos a few months ago. I wish I'd gotten it together to run them while Carl was still living. I'm told the sparkly blue shoe was a gift from Sam Phillips. But Carl Perkins' music was the real gift, and I'll always treasure it. -Marc Bristol

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Whiskey River (Take My Mind): The True Story of Texas Honky-Tonk Book by Johnny Bush with Rick Mitchell. University of Texas Press Well, you can bet your boots Johnny Bush knows what he's talkin' about when it comes to Texas Honky-Tonk. That's what he's been playin' and singin' since the early 1950's and that's what he's still playin' today.  Bush grew up in Houston - singin', playin' guitar, learnin' from his musical uncle Smilin' Jerry Jericho, doin' local radio and t.v. and turnin' pro when he's still a teenager.  His first regular gig was playin' the Texas Star Inn in San Antonio - drawin' good crowds and makin' good money - ten dollars a night.  That's where he learned to play the drums and where he learned about watchin' out for shady club owners. Since then he's been in Willie Nelson's band, and in Ray Price's, he's been in package shows, and he's been a bandleader.  And he's always been able to pack the house and to sell records in Texas - even when the rest of the world didn't give a damn. Now for most of his adult life Johnny Bush was the kind of guy who just couldn't resist puttin' the pork to just about any chick he came across, but he also liked fallin' in love and gettin' married. This usually meant that his marriages didn't last too long, but it also meant he knows what he's singin' about when he does a cheatin' song or a splittin' up song.  It also gives him plenty of good stories... and he ain't afraid to tell 'em. For example, at a time when he and Willie were each gettin' more ass than a couple of toilet seats, Bush gets the clap for the third time - so he asks Willie how come he never gets it.  Willie's reply: "It's very simple.  I only fuck married women."  Hmmm... so seems to me that Ol' Willie left that little pearl of wisdom out of his own autobiography.  But don't worry, there's plenty more great Willie stories here.  And some Ray Price/Cherokee Cowboy stories, too. Naturally, Bush tells about the fun he's had of drinkin' and poppin' pills - and about his troubles from drinkin' and poppin' pills - but you've heard all that before about other hard livin' Country stars.  But what you might not know about are his troubles with spasmodic dysphonia - a medical condition that weakened the vocal cords and eventually took his voice away... for a while.  With therapy he learned how to talk and sing all over again - but his voice had changed.  He couldn't hit the high notes anymore - so he learned to sing in lower keys. (Personally, I like his voice better now.  It's definitely lower and less operatic.  It's growlier and more lived in, it just lets you know he's been through some hard times and it damn sure is a better fit with the words he's singin'.) Now about Bush's writing style: his train of thought seems to get de-railed pretty easily.  For example: he'll start out explaining the steel guitar part of one of his songs ("Sound of a Heartache").  Then he'll jump back in time to the first time he heard "Steel Guitar Rag" as a kid.  Then he'll throw in a brief history of the evolution of the steel guitar: from an acoustic guitar with the nut raised, through Leon McAuliffe's Fender solid body triple neck non-pedal steel, through the current favorite double necks with ten strings on each neck with floor pedals and seven knee pedals.  Then he'll explain the different tunings for each neck (E9th - best for ballads and C6th - best for up tempo stuff).  Then he talks about his all time favorite steel players Jimmy Day (best for the slow stuff when he was straight) and Buddy Emmons (best for the fast stuff - unless he didn't like the song - then he might get up and walk out of the session)  Then Bush talks about Herb Steiner - who's been playing steel in Bush's band for the past ten years.  Then he'll get back on track, back to "Sound of a Heartache." It's a round about way of tellin' the story, but you damn sure understand what he's talkin' about.  It all reads like a good barroom conversation and you'll damn sure enjoy the ride.There's about 50 photos, a discography, lots of song lyrics.  Hell, I couldn't put this one down.- University of Texas Press (800) 252-3206© 2007 Billy Tom Hogg	Here are some current reviews that DIDN'T fit into our Winter 2007 issue! Read 'em only here Billy Joe Royal / Going By Daydreams Raindrops  I’m sure you remember Billy Joe Royal’s 2 biggest hits “Down In The Boondocks” and “Cherry Hill Park”, and maybe also “Hush.” Royal has been playing the oldies circuit, and now has a new CD produced by Chips and Casey Moman on B.J. Thomas’ label Raindrop Records. I’m all for guys like this keeping their hand in with more than just nostalgia shows, and while it starts off with some gentle Pop stuff, “All He Wants To Do Is Play” rocks on about a guy who wants to play “Johnny B. Goode.” There’s a cover of “Under The Boardwalk,” Moman’s “Class Of ‘65” reminisces and wonders “Where Did The ‘60s Go?”, and most of the program is fairly wistful Pop, but Royal still has his pipes. Bjraindrops.com –MB Crazy Hambones / Blowin The Family Jewels / Stormy Monday MO 81221 We had the great pleasure of seeing these guys in Germany a couple years ago, and I even got to sit in for a tune! We also reviewed a previous CD that had been released under the name Coolstep, with their previous harmonica player/frontman Paul Orta. They are committed to the vintage Blues sound and feature just guitar, drums (sometimes washboard, spoons or tambourine), and harmonica/vocals. This new 15 song CD features a mix of traditional material from the likes of Johnny Shines, Willie Dixon, Muddy Waters, Jerry McCain, Chuck Berry and Dr. Ross, with originals written or co-written by guitarist Peter Krause and “Hambone Boogie” which credits all three, Henry Heggen (harp, vocals), Michael Maass (drums, vocals) and Krause (guitar, vocals). The production places you, the listener, right in the midst of the band, a great immediate and intimate feel. In this day of in your face bass mixes, here’s a band with NO bass player – and it works fine for me! I’m not against bass, but there’s plenty of traditional precedent for this type of lineup. Excellent vintage style Country Blues, with some fine harmonica, guitar (and slide) and for that matter percussion plus great singing! Hambones.de –MB  Franklin & Baytop / Searching For Frank Patuxent CD-156 OK, they got me: I’m looking for Frank Stokes too! In fact it was one of his songs(“Downtown Blues”) I played with Crazy Hambones in Saltzgitter-Bad. They don’t do that tune on this CD, but open with another of my favorites, Blind Blake’s “Champagne Charlie.” They’re not just doing Stokes obviously, but instead trying to paint a picture of the context in which Stokes and his partner Dan Sane were working. They do “I Got Mine,” which the Frank recorded, along with others, and tunes from contemporaries like Furry Lewis (“Jail House Blues”), Bo Carter (“Beans”) and others. These two guitarists come of the Washington D.C. area, where Rick Franklin had worked with the late Archie Edwards and the late John Jackson. Michael Baytop also hung around Edwards’ barbershop, and both have absorbed the fingerpicking Blues tradition. They are among the few younger black artists to take up this tradition. Baytop also picked up the bones playing tradition, and you can hear a bit of that s well as his harmonica, giving some variety of sound to this pastiche of street singer style vintage Blues. Pxrec.com -MB Order our Latest Issue! And read the rest of the current reviews!	Order our Latest Issue! And read the rest of the current reviews! Dale Watson / The Little Darlin` Sessions / Koch Records KOC-CD-9880 From The Cradle To The Grave / Hyena Records HYN 9357  Little Darlin' Records was Aubrey Mayhew and Johnny Paycheck's baby. Back in the middle and late 60’s, they were writin' and puttin' out some of the hardest of all hard-core Honky-Tonk. This was not good-natured dance music, this was gut-churning hard drinkin' juke box music for the guy at the bar that you just know you’d best steer clear of. Mayhew did the producin' and Paycheck was the label’s top singin' star. Top pickin' star was their amazing house steel man Lloyd Green. But nobody was gettin' rich, so they closed up shop. But now Aubrey Mayhew is back producin` and Green is back still playin' his steel guitar “with an attitude”. They’ve brought back a few other original session men like Pig Robbins on piano and Pete Wade + Billy Sanford on guitar. None of these boys has missed a lick and they’re doin' the same song that put Little Darlin' and Paycheck on the map to begin with. Only this time its Dale Watson doin' the singin'. Sounds like he’s singin' deep down from his balls and that matches up just fine with these 15 emotion-drippin` drinkin` and hurtin` songs. To my ears everything on Dale Watson’s The Little Darlin Sessions sounds just like it ought to sound- like it could have been recorded back when men were men and when a Country record was still Country, [ its almost unheard of today, but they actually recorded Watson’s vocals while the band was playin'. ] The songs are right on the money- 9 written by Mayhew and/or Paycheck, a couple from Groovey Joe Poovey, and a real sad one co-written by that Kentucky-Fried Col. himself Harlan Sanders. My favorites are an unrepentant gettin' wasted song “If I’m Gonna Sink (I might as well go to the bottom)” from Mayhew-Paycheck, followed by Mayhews “I don’t need a bottle (to sleep like a baby now )” - about kickin` alcoholism and “He thought he‘d die laughing (.. And he did )” - a fun ironic one from Poovey about killin' the dude who’s been braggin` about fuckin` your ol’ lady - God I just love this stuff. that’s why it surprizes the hell out of me that Dale Watson has pretty much disowned his Little Darlin Sessions album, sayin' that they were hurried in the studio and didn’t have time to get it right, and that he’s not happy with the results or with his own singin`.. Go figure. Now the album that Watson’s not disownin' is From The Cradle To The Grave on his new label Hyena Records. Here he’s slidin' off of Paycheck's barstool and into Johnny cash territory. Watson’s voice booms out like the voice of God over top of the Luther Perkins- Marshall Grant boom-chicka-boom style pickin and Watson’s phrases are punctuated by spare Cash-style horns. The album was even recorded at Johnny Cash’s old cabin in Hendersonville, Tennessee - now owned by Watson’s friend Johnny Knoxville. Watson claims that he went there without any songs to record “and basically wrote ten songs in ten days”. And he came up with songs about a child murder, suicide, revenge, killin' your ol’ lady, facin' the electric chair and even the end of the world. There’s also one about Johnny Cash. I get the impression that Watson set out to make a serious record… and he did. Just one note: I listened to his song “Yellow Mama” over & over and I didn’t know what the hell it was about. Then I read his press release explain that “Yellow Mama” is the nickname of Alabama’s bright yellow painted electric chair. Now it makes sense, but it would have been nice if Watson woulda explained that in the song (or at least in the liner notes). Or maybe this ol’ honky-tonk singer is tryin' to go cryptic on us … Anyway what we have here is one album rushed in the studio.. And one rushed in writin' … hmm .. I like ‘em both, but I tell you I’ve been spendin' a lot more time listenin to The Little Darlin` Session with its songs that have damn sure stood the test of time. © 2007 Billy Tom Hogg
Dave Gross / Take The Gamble / Swingnation Records SNCD 388006  This is Dave Gross’ second CD, produced by the great Duke Robillard in “Duke’s Mood Room”. Duke picks only the best musicians to back up this talented young guitar pickin’ Blues singer – Duke himself lends his chops to three songs, Dennis Gruenling on harmonica on 4 songs, Dona Oxford plays piano and organ and half the songs feature horns. “Take The Gamble” has a vintage feel to it and incorporates a lot of Swing, a little New Orleans Blues, Country and Chicago style Blues, guitar driven old-school R&B and more. The strong good-time starter “She Walks Right In” is a rompin’ Gatemouth Brown swinging rocker, get your dancing shoes! One of 9 Dave Gross originals follows and I simply love his wit in “Mess On My Plate” with lines like “I Forgot To Leave You Baby”. It has that groovy New Orleans vibe with great piano and saxophone. A Chicago style 6-minute Blues follows, then a slow burning musical tribute to T-Bone Walker called “I’m So Hungry Blues”. A straight vintage style Swing  (the original “Swingin’ On All Six”) and a Hot Lips Page tune are next. “That’s All You Get” and “Movin’ On Down The Line” are two modern Blues numbers, the aforementioned on the funky side with organ and both feature electric bass instead of the upright that dominates the album.  The slow shuffle “You Ain’t Playing Me No More” is a fine Country Blues example, T-Bone Walker’s humorous “I Know Your Wig Is Gone” swings and the classic “After Your Gone” is as good as any great 30s style Swing number. I dig the hoppin’ Country number with a galoppin’ “Mystery Train” kinda groove on “Once I Had A Girl”. Dave Gross mentions he enjoyed the chicken pickin’ on his tele here (most other songs feature a vintage Gibson). Closing out the set is a more contemporary slow swamp Blues.  Sound and mix are simply perfect, Dave Gross is a fine singer and guitarist and overall it’s a well-rounded album that fans of vintage style Blues and Swing will enjoy. Personally I would have favored inclusions of  a few more uptempo numbers like the lively opener or the irresistable New Orleans groove on my favorite here “Mess On My Plate”. Check it out. DaveGrossBand.com -GMB	Order our Latest Issue! And read the rest of the current reviews! Zane Grey: His life, His Adventures, His Women, by Thomas H. Pauly. 2007, U. of Illinois Press. 385 PP., Illustrated, Paperback.  Yes, you’re right, Zane Grey was an author, not a musician. I can’t even recall music being mentioned in this biography of the Western author. But his influence on Western culture via his books and the movies made of them is huge, and since Western music is part of what we’re about, we acknowledge the fact that music isn’t the whole culture to the aficionado. At least 3 bands have been named for Grey’s most famous title Riders Of The Purple Sage. While Grey had biographies written on him before, the last one is long out of print, and for this book the author gained access to personal diaries and the family’s permission to uncover the amazing aspects of Grey’s personal life hitherto kept hidden. He had a wife and kids at home, but brought multiple women with him on his adventures in the name of inspiration for his stories. While they unfortunately aren’t printed in the book, it says there are hundreds of photos of most of these women nude and also in sexual situations with Grey (a photography buff as well as an adventurer). In his early books he was very much against Mormon polygamists, but seems to have been a de facto serial polygamist himself. Anyhow, it’s a fascinating book, and even though I think I may not have ever read a Zany Grey western, I’m sure I’ve seen film versions of them. Press.uillinois.edu –MB Order our Latest Issue! And read the rest of the current reviews!	David Evans / Needy Time / Inside Sounds ISC-0532 Shouldn’t it say “Dr.” David Evans? He’s a noted Blues scholar and teacher who also has performed and recorded with folks like Hammie Nixon, Johnnie Shines, Robert Balfour and others. We enjoyed a previous Jugband CD that featured Evans, and indeed this new one has some tracks with that kind of lineup, as on “Adam & Eve In The Garden Of Eden,” but also everything from solo guitar and vocal and other accompaniments such as harmonica, fiddle, mandolin, banjo etc. But several have fuller jug bands. In fact Nixon appears on “Bottle Up And Go,” and the late Alan “Blind Owl” Wilson appears on 2 tracks. Several tunes are Evans' own, but he also draws from Tommy McClennan (“Highway 51”), Sleepy John Estes (“Brownsville Blues”), Big Joe Williams (“Baby Please Don’t Go”), and Wilson (“On The Road Again”, written with Floyd Jones – an electric track with Billy Gibson on harmonica). The Blind Owl tracks date from ’64 and ’67, and the Nixon track is from ’79. Personally, I think that street Blues scene from Memphis has been a larger influence on Rockabilly and also the Chicago Blues sound than it seems to get credit for. Of course radio was the great cross pollinator, but groups like this were on public display in Handy Park throughout the youth of Elvis and other Memphis based Rockabillies. And Memphis was the hub of the Delta too. David Evans represents that sound well on this CD, and the others he has done as well. Insidesounds.com -MB  Roadracers / Roadrage Full blast Rockabilly is what the Roadracers do best! Ricky Nelson’s “Believe What You Say” gets made into a raspy voiced wild rocker with sizzling guitar– interesting transformation! Most songs here are originals and I dig their cool “Roadrage”, the aggressive opener “No Fool” and the gallopin’ “Trouble Hound”. “My Way” is head on Rock’n’Roll with piano and saxophone and yes, that’s the vintage Eddie Cochran number! Every song here is hot and rockin’, the hip shakin’ bluesy “New Shoes”, the shuffle “Rock’n’Roll Ship with great piano and all the Rockabillies and hot Rock’n’Roll numbers. The Roadracers end the 13-piece romp with a hard hitting drinking song “This Is What I Drink”. Explosive Rockabilly with a hot rhythm section, sizzling lead guitar and a raspy voiced, often shouting leadsinger who know how to rock out! –GMB
Di Maggio Brothers / When I Hit My Stride  Italy’s premier rockin’ brothers are back with an excellent album. Marco Di Maggio is known for his impressive guitar skills and … is an skilled singer with a fine, deep baritone voice. Among them they play every instrument on this 15-song album. Slappin’ bass, sizzling lead guitar, drums, rhythm guitar – an exciting sound, based on late '50s Rockabilly / Rock’n’Roll but unmistakenly modern. Weirdly enough they start their set with a hit from the disco era, a makeover of the somewhat annoying “Born To Be Alive” from 1979. Don’t worry, it’s Rockabilly now! The title Track “When I Hit My Stride” is a hard hitting rocker complete with Paul Burlison style fuzz guitar work, cool! “A Date With Fate” is a sweet sounding rock-a-ballad, “Blue Refrain” with its wonderful guitar work and brotherly harmonies is very much reminiscent of the Everly Brothers mellower hits. Among the many Di Maggio Brothers originals is a fine cover of Cash’s “I Walk The Line”. “If You Want Me To” could be a Junior Brown track, fancy guitar work, and that certain '60s Honky Tonk sound, very cool! Buddy Holly’s beautiful “Raining In My Heart” is faster than the original, but maybe it’s the speedy and extra fancy picking that makes me think so. The '60s come alive with a real cool Twist-rocker “Latin Nights”. “A Lotta Swing”, reminds me a little of Gene Vincent and High Noon. “I Got Stung” is of course an RCA Elvis hit and the Di Maggio do a great job and you can tell that’s pretty much the sound they’re successfully aiming for! More melodic rockers follow and last but not least a fingerpicking instrumental named after their late dad ”Bruno”. A great album filled with mostly originals with an exceptionally good sound and production, exciting guitar work and fine vocals. –GMB Jussi Syren Rockabilly Revival / Stayin’ On Top Of The Beat / Goofin’ GRCD 8137  Here’s another Finnish Rockabilly trio, this one with lead guitar, slap bass and drums and a singer (Jussi Syren) who has that southern accent down, including that ultra cool “hot potato in your mouth” style. I enjoy every song here, a total of 13 and five of them Jussi Syren originals that include one of my favorites, an intense, slow and very cool “Chichamauga Jeanie”. Hypnotic the opener “Down At Bradley’s Bar”, real fine the tribute to Carl Perkins “Rockabilly Guitar Man”. When bands split their releases between '50s scene classics and originals there is a pretty good chance that their own material can’t hold up. Not here! Strong songs/lyrics complete with great melodies, passionate musicianship and an absolutely great sound make these originals a lasting contribution to Rockabilly legacy. Yes, the covers are top notch, too. Benny Joy’s mega hot bopper “Steady With Betty”, Charlie Feathers’ classic “Bottle To The Baby”, the wild slappin’ “Imitation Of The Blues” with cool guitar licks, or Jimmie Skinner’s Hillbilly lament “Baby You Don’t Know My Mind” and Eddie Bond’s full blast “Slip Slip Slippin’ In” – cool stuff, great rockers that are never short on melody. Carl Perkins’ fine early Country effort “Sure To Fall” is followed by the forceful and haunting Neo-Rockabilly style of “Hank’s Nightmare” with a gallopin’ beat and repetitive guitar licks. Great album, highly recommended. Goofinrecords.com. -GMB	Jessie Lee Miller / Waiting  Jessie Lee Miller has one of those dreamy and sweet and at the same time sultry voices perfectly suited for sexy barroom ballads – but that’s not all she does. It seems impossible to escape her magic once you pop this 13-track album in your CD player. It kept me hitting the play button over and over again instead of sitting down to finally write the review. Six numbers are her own and they range from sweet ballads to rockers and vintage style Honky Tonk to Blues and oldtimey Jazz. “Runaround” is a cool, slow swingin’ bluesy song that includes Cindy Cashdollar taking the lead on dobro. Jessie Lee Miller’s beautiful voice is always the most important instrument, making every song her own, like the upbeat “Loved By You” with its exotic beat and a trumpet lead.  I especially love the hot Honky Tonk material here, the rocker “Good Lookin’ No Good” and Sean Mencher’s fine “I’m Yours, You’re Mine”, and “When You Said Hello”, wonderful two-step material, too.  “Shameless Tomorrow” is Jessie Lee’s own convincing Hillbilly effort with slappin’ bass and Johnny Cash style guitar work, while her “Hard To Admit” features upright bass, a bluesy guitar solo and just a snare played with brushes. Overall a great release with a vintage feel and a voice you won’t forget. Every song possesses charm and is superbly supported by a strong cast of first rate musicians. The recording quality and the packaging are excellent, too. “Waiting” puts Jessie Lee Miller on the map. –GMB  The Astrophonix / Suspended Time Thunderball TR2007-1/AP0C7  Last time I heard young Simone Di Maggio (yes, related to the Di Maggio Brothers) he was playing straight Rockabilly, now he heads the Italian Surf-Rock band The Astrophonix. He’s just as talented as the rest of the musical family, strong on lead guitar, a fine singer and he co-wrote all but one of the 10 tracks here. The trio (guitar, drums, bass) puts out an astonishingly full soundwall. You can hear all kinds of hard hitting '60s beats, Surf, Psychobilly and Punk influences but their style is unmistakenly modern and very forceful. “Guitar Maddness” is a close as we get to a sizzling Rockabilly instro-rocker. Do you remember Annie Lennox and Stewart’s '80s Pop hit “Sweet Dreams”, well here you get the sped up hard rockin’ version with twangy and fuzz-guitar. If you like energetic, full blast guitar heavy modern Surf-Rock, check out the Astrophonix. –GM  Hot Roddin’ Romeos  This demo shows Bellingham’s quartet Hot Roddin’ Romeos rock with vintage classics and some new Rockabillies. Their aggressive opener has sizzling guitar, and a Psychobilly edge. “Six Inch Heels And Dynamite” is a real strong rocker, powerful delivered. “Red Hot” is cool, and the Stray Cats “Rock This Town” is a real good remake, I dig that song. A cool lo-fi rocker follows that raps up this pretty good demo. The Hot Roddin’ Romeos with Johnny Rocket’s raspy lead vocals and Killer Kate on drums just formed in 2007 and are planning on recording a full length album soon. In the meantime you can catch their energetic performances live in the Seattle/Western Washington area. Hotroddinromeos.com. -GMB	DVD Reviews Schmelvis / VSC SCH1638  This documentary made by filmmakers from Montreal was inspired by a report in the Wall Street Journal that Elvis Presley’s maternal great grandmother was a practicing Jew. In their quest for proof of this, they recruit a Jewish Elvis impersonator who calls himself Schmelvis, and a rabbi from Toronto, and head for Memphis. The premise promises more fun than the finished product delivers, though there are many funny moments. The main problem is in the bickering amongst the participants along the way, which maybe is supposed to be funny, perhaps if you yourself are Jewish, but is just very annoying if you’re not. The other big problem is that Schmelvis refuses to perform at an Elvis karaoke event because he won’t work without his guitar (so let him play it doing karaoke already!). Then, when in desperation they fly back to Memphis (after visiting Israel, and being informed by Hassidic Jews swimming in the Dead Sea that a Jewish Elvis impersonator is a sign the Messiah is coming), Schmelvis is to participate in an Elvis impersonator contest, but also ends up not performing. In that case the organizer, who happened also to be the veterinarian who treated Elvis’ monkey (which died of cirrhosis of the liver), demanded that there be no religious statements or political statements made. They also didn’t want Elvis being made fun of, and the Schmelvis persona has a comic name at least, regardless that I see no disrespect inherent in it. We do get to see him sing a couple times, and he turns out to be a fairly good guitar player as well. Performance-wise, when Schmelvis sings to a group of Palestinian kids near the huge Elvis statue at a truck stop which is the second most popular tourist attraction in Israel (!!!), it’s the best dose we’re going to get of his performing, and kind of a heartwarming moment. But the bottom line is that Elvis being Jewish is a non-issue for nearly everyone who isn’t Jewish. These guys apparently expected to engender anti-Semitism in Memphis by going around saying Elvis was Jewish, and didn’t really come close. I think they pretty much would have had to find a Klan meeting to make it real. They should maybe have gone to Vegas for the impersonator contest. For Elvis fans the best thing may be the interviews with neighbors of Elvis from when he was 15, and with one with one of the Lansky Brothers. Schmelvis.com –MB  Destination Vegas Elvis Weinerworld  MVDV 4651 This somewhat schizophrenic DVD seems to want it both ways: it’s alternately worshiping of Elvis and thoroughly sarcastic about his later work and drug problem. I’ll say this, it’s probably not possible to sound more sarcastic than with an English accent, as with the narrator of this. The majority of meaty clips are ones you might already have from the ‘50s TV appearances, which I guess are now “out of copyright” in Europe. The clip of “Tutti Frutti” has frames missing in places. The Vegas footage is all home movie stuff, usually with sound recordings of different performances than what you see, with Elvis talking to the audience. While this purports to be a documentary about Elvis’ Vegas years, it actually covers the whole of his career, though not certainly any better than others already out there. One thing it has that others may not is in the “extras”, a series of photos a few of which I’d seen, but most of which are audience snapshots from Vegas performances, in which you can see a wide variety of Elvis’ stage costumes. The other extra is more of the home movies with different soundtracks to what is happening on the stage in the pictures. Elvis rambles about his early career, and raves about people who had spread inaccurate word about his drug problems, and makes specific threats towards whoever that was. MVDVsual.com -MB
Various Artists / The Leiber & Stoller Story: Shake ‘Em Up & Let ‘Em Roll, Volume 3 1962-1969 / Ace CDCHD 1156  Jerry Leiber and Mike Stoller wrote and produced some of the biggest and best hits of the rock ‘n’ roll era. This album, the final installment of a three-disc series, nicely wraps up a wide-ranging overview of their work. As with the earlier volumes, you get a mix of hits written or produced by the duo – “Drip Drop” by Dion, “Jackson” by Johnny Cash and June Carter, “Is That All There Is” by Peggy Lee, “Only In America” by Jay & the Americans” – and other less-successful material. Artists like Ben E. King (“Where’s The Girl?”), Jimmy Scott (“On Broadway”), Solomon Burke (“You Can’t Love ‘Em All”) and the Shangri-Las (“Bull Dog”) are included and if these versions weren’t hits they certainly sound good. The obvious missing artist is Elvis Presley, who did a number of their songs, but there are plenty of collections of his music around and his absence leaves more room for interesting entries by other acts. As usual, Ace does their terrific job of packaging with rare photos, song information and facts and figures on each of the 24 tracks. By the way, if you wonder what these two had to do with “Jackson,” Leiber co-wrote it with folky singer-songwriter Billy Edd Wheeler, who claimed it was inspired by the play “Who’s Afraid Of Virginia Woolf.” That’s what you call in-depth liner notes. www.acerecords.com -Mark Marymont	Order our Latest Issue! And read the rest of the current reviews! Mandy Mercier / Run Out Of Darkness Mercier seems Blues based – she opens with “Spoonful”, but the second song, her own “Get There” is more on the Rock’n’Roll side. The third song “Call It Love” has a Rock groove. Mandy’s got a fine voice, and I can’t think of another singer to compare her to. “Hello My Lover” is a New Orleans groove. Sippie Wallace’s “Special Delivery Blues” centers the project back in the Blues, but “Wild Heart” has a Stones feel. The Lovin’ Spoonful’s “Sportin’ Life” (really a takeoff on the Willie Nelson penned song “Night Life” and some other earlier tunes) is nice to hear again. The title tune, from Ray Wylie Hubbard who duets, is back to the Rock groove. The short 10 song program is rounded out by “Ball & Chain”, inviting the Janis Joplin comparison, and then Gospel Blues standard “You’ve Got To Move.” Mercier is a full voiced singer, and to be true it’s a little painful to listen to Janis sing “Ball & Chain” anymore, so this is easier to take. That last tune was co-arranged by Sue Foley, who isn’t playing or singing here, but her presence is nevertheless felt. Mandymercier.com -MB	Max Stalling / Topaz City / Blind Nello Records Stalling is a sort of more laid back Dwight Yoakam style Country singer, who wrote all the 11 songs on this new CD. He doesn’t have the Honky Tonk edge of Yoakam or Dale Watson, but he writes fine songs, and it’s really impressive that he doesn’t make an attempt to lead off with a mainstream “Country” style anthem. He can rock a bit, and does so here and there. The title song has a gentle Country Rock beat. “Lank & Lonesome & Low & Loose At Both Ends” has kind of a Hank Williams feel, and “Skyview Café” sounds like a Clint Black thing. “Lonely Days’ has kind of a “Mystery Train” groove. “Don’t Fall Alone” is a nice shuffle. The production is very nice and tasteful, usually featuring some acoustic instruments, whether just a guitar, or also a mandolin. I like this stuff, and I’m ready to hear anything else Max Stalling has done, or whatever he puts out next. I hope he doesn’t try to tweak his style any – just write some more good songs and record them just like this! Maxstalling.com -MB
Red Meat / We Never Close  / Ranchero Records 0701  San Francisco honky-tonkers Red Meat have been packin' them into the Bay area bars and clubs for a few years now and their tight sound comes from many nights letting loose on their mix of mostly self-written songs. Produced by Dave Alvin, who also produced their last album 2001's Alameda County, he gets the best out of the band both in a well recorded sound and choice of songs. Red Meat are Smelly Kelley (great name!) (vocals), Scott Young (vocals, guitar, trombone) Jill Olson (vocals, bass) Michael Mantalta (guitars, accordion) and Lea Jamea (drums, percussion, vocals) other musicians lending a hand include Doug Livingston (pedal steel, piano) and Rick Shea (guitar, mandolin). You can smell the saw-dust on the floor! with the opener "Honky Tonk Habit" with great guitar riffs and is a whole lotta' fun. Jill Olson contributes some good songs including bar room ballad "I'm Not The Girl For You" and the rowdy "Queen Of King City". So all of the songs tell familiar tales of drinking, women and having a great time (nothing wrong in that), but Red Meat do inject something new with superb playing throughout mixing hot shuffles, Country swingers and Rock 'n' Roll. They probably come over even better live, but this will do for now!  Ranchero Records, 4200 Park Blvd, Oakland, CA 94602 -Rick Meek  Omar Kent Dykes & Jimmie Vaughan / On The Jimmy Reed Highway  / Ruf 1122  When I was working in Hamburg in the early '60s the German audiences couldn't get enough of Jimmy Reed songs and our hourly set list always included "Baby What You Want Me To Do" and "Bright Lights Big City". Here vocalist Omar Kent Dykes and guitarist Jimmie Vaughan team up in a great album of Reed songs, not all of them familiar, but every one reminding us what a genius he was, often overlooked because his laid back vocal style hid his many talents as a songwriter. Omar doesn't try to recreate, he couldn't because his gruff and rough vocals bear no resemblance to Reed's smooth delivery, but somehow it works. The backing band has some of Austin's top guys Derek O'Brien (guitar), Ronnie James (bass), Wes Starr and George Rains (drums) with guests Kim Wilson, Delbert McClinton, James Cotton, Lou Ann Barton, Gary Primich and Gary Clark Jr all contributing to make this one of the best Blues albums of the year. Their are two originals by Omar that begin and end the album. The first is dedicated to the late Clifford Antone, both songs avoid any sentimental sweetness and fit in well with the rest of Reed's songs. I should add that Jimmie Vaughan's often understated guitar playing is a key factor in making this collection of songs come to life for a new generation that will hopefully seek out Jimmy Reed once more. -Rick Meek www.rufrecords.de	Order our Latest Issue! And read the rest of the current reviews! Tracy Nelson / You'll Never Be A Stranger At My Door  Memphis International DOT 0219  Tracy Nelson is a Blues belter of formidable power and vocal range and over the years has given us some classic albums detailing her talent. You'll Never Be A Stranger At my Door is Tracy's homage to some Country classics, where Blues meet Country without her loosing any of her trademark growl and delivery. You could almost imagine her singing these songs in the bath!  because they are great songs that she obviously loves to sing. "Cow Cow Boogie" is a jazzy opener. "Four Walls" (the Jim Reeves chestnut) and Johnny Cash's "I Still Miss Someone" fit perfectly into Nelson's plan of what makes these country gems sound great. Most of the songs are from long ago, but Randy Sharp's "New Way Out", an '80s single by Karen Brooks is mesmerising given the Tracy Nelson treatment. The only let down for me was the old Browns '50s hit "The Three Bells", it sounded mawkish and downright crass back then, even Nelson can't bring this back to life. With sensitive backing by multi-instrumentalist Fred Kaplin, guitarist Robert M Britt, Steve Conn on piano and accordion, plus Guy Clark and Alice Newman Vestal (vocals on "Salt Of The Earth") this is Country delivered Tracy Nelson style and I love it all the more for that! -Rick Meek www.memphisinternational.com  David Olney / One Tough Town  / Red Parlor 00705 David Olney has been writing unique and biting lyrics for years. His songs have been recorded by many, including Emmylou Harris, whose versions of  "Deeper Well' and "Jerusalem Tomorrow" are classic. Olney comes from the timeless Texan songwriter tradition of Towns Van Zandt, Eric Taylor and Vince Bell. Olney is perhaps the bluesiest of the bunch with a deep growl of a voice and masterful technique of acoustic guitar playing. His songs, always varied with clever wordplay and firmly rooted in acoustic Blues and Jazz background. Case in point is the wonderful "Who's The Dummy Now" written from the dummy's view of malice and spite of his controlled existence. "Panama City" blends Caribbean rumba and tequila rhythms with laidback guitar and vocals while "Sweet Potato" is downright Dixie with tuba and clarinet backing. There is one Van Zandt song "Snake Song" which Olney delivers with a sparse reverence of just himself and Sergio Webb's guitar as backing. If you like your music acoustic with songs full of dark humor, often funny sometimes sad, Olney is the man for you!   www.RedParlor.com -Rick Meek	Muddy Waters, Johnny Winter & James Cotton / Breakin it UP, Breakin’ it DOWN / Epic 07283 2)  After making 1977’s Hard Again, these three went on tour to promote it, and now you can hear what that sounded like. The rest of the band included Pinetop Perkins, Bob Margolin, Willie “Big Eyes” Smith and Charles Calmese. Hard Again was Muddy’s album, but this one belongs to all 3, and it’s best moments may be when they are jamming, pushing and playing with each other. It’s got to be a show many of you would like to have been at, along with myself. They recorded 3 nights and took the best for this new CD. There’s a great picture of the 3 principles just inside the booklet, along with Margolin’s notes and a few other pictures from the shows. Legacyrecordings.com -MBSchmelvis / VSC SCH1638 Sixtyeight Twentyeight: The Life and Times of a Texas Writer and a Flat Top Box Guitar by Vince Bell A vincebell.com book First of all, this is a book for musicians.  If you've never been up there pickin' in front of a barroom crowd - you probably don't want to read this.  But if you have - you probably do. In 'Sixtyeight Twentyeight’ Texas songwriter-picker-singer Vince Bell gives us brief glimpses of his life in music starting with him buyin' his first good guitar - a 1968 Martin D-28 acoustic (hence the title).  In '71 he's startin' as a solo act playin' to crowds of 8 people in run-down Houston barrooms. He tells of bein' on the bottom rung of the musical food chain - an Opening Act - and of his strange encounters with Headliners like Townes and Delbert and Doug Sahm's band.  He's played bars all over Texas and he's done the National Coffeehouse Circuit.  He's played songwriter showcases with Lyle Lovett, Guy Clark, Willis Allen Ramsey, and Steve Fromholz.  He's played Austin City Limits, Mountain Stage, and Europe. And he's had a car wreck that almost did him in.  And he had to re-learn how to do anything musical. He's had troubles with a small Texas record company (Watermelon) and with an affiliate of a giant (Paladin/Warner).  And most recently he's been puttin' out his own stuff on the Internet, cuttin' out the middle men and probably even relaxin' a little. Of course there's some technical stuff for us pickers: like learnin' to deal with his singin' voice gettin' lower as he gets older, by tunin' his guitar down a whole step and switchin' to bigger gauge strings. But above and beyond everything else, this book is the love story between Vince Bell and the one guitar that he played for over 30 years - the one guitar that he was with "for several lifetimes" - the one he got at age 19. You don't even have to know Vince Bell's music to appreciate this book.  Bell squeezes 59 chapters of his life into 171 pages, so it's really quick readin'.  Hell, I read it cover-to-cover while I was tendin' my roadside stand on Memorial Day. But I'll tell you one thing: there's a surprise ending here that hit me hard and kinda left me with a bad taste in my mouth.  I'm not gonna blow it for you, so you might want to check it out yourself. -vincebell.com 7 Avenida Vista Grande, #237, Sante Fe, New Mexico 87508 © 2007 Billy Tom HoggDestination Vegas Elvis
The Detonators / Top Night Out BMM325.2  It’s the Detonators fifth release and the first I’ve heard. Sometimes it takes longer for that good rough edged roots music from down under to make it to these shores. These Australian roots rockers detonate explosive harmonica driven hip shakin’ bluesy rockers and shuffles a la Fabulous Thunderbirds (and to a lesser extent George Thorogood) and mix in a bit Rockabilly/Rock’n’Roll  and related roots music styles. Standout in the first few tracks is clearly the Texas shuffle “What Happened To My Cash” (must of spent it on my stash)”, with a great storyline and a tempting groove. “Time Machine’ boogies, ”Off My Chops and “She Don’t Need Me” are both fine shuffles, the latter featuring a mean slide guitar. I really dig their swinging Rock’n’Roll with Blues harmonica “Van Diemen’s Hop”. Most of the 13 tracks are Detonators originals but they also do a couple fine covers, “You Sexy Thing” and “Sugar Coated Love”, I think the Thunderbirds did a version of this old J.D. Miller swampy Blues. Closer is a Psychobilly influenced fast “Top Night Out”. Powerful bluesy roots music, worth checking out. Detonators.com.au. -GMB	Blues Divine / That’s What It Takes!  Here’s another versatile Blues band with an interesting album. Dedicated to the great musicians of New Orleans it starts with the 10-piece band on “Home To New Orleans, a strong Roots Rock complete with fine female background vocals. There’s the gritty, true to the bone “Other Men’s Crimes”, the double entendre “Ride On Me” with Albert Lee guesting on guitar, the ballad “Raining Again” and then Robert Johnson’s “Hellhound On My Trail” with just guitar and slide guitar. I particularly enjoy the other Robert Johnson cover done New Orleans style “Steady Rollin’ Man” with a band that includes fine piano and slide. Blues Divine’s mastermind Philip Franchini sings, plays guitar and wrote twelve songs on “That’s What It Takes”. Roots Rock, Soul and Funk, Delta Blues, Blues Rock - it all goes together gracefully for a fine bluesy album that sounds mostly contemporary but at the same time pays tribute to the fathers of the genre. Bluesdivine.com. -GMB	The Insomniacs / Left Coast Blues / Delta Groove DGPCD117  The Insomniacs are a high energy Jump Blues quartet from Portland, Oregon. My legs been twichin’ since the first note of their opener “Stick Around”. It’s easy to be captivated by their hip Blues rooted in the swinging style of the '40s and '50s with a dose of later Blues styles built in. The Insomniacs 25 year old leader Vyasa Dodson is not only a fine singer and cool guitar slinger, he wrote all but three offerings here. Of the covers the hot '50s style Rock’n’Roll “Watch Your Mouth” and the vintage R&B “No Wine, No Women” are my favorites. I like their lineup with guitar, bass, drums and most of all piano. A little Funk and Soul (organ driven instro “Crime Scene”) and influences from Chicago and Texas make it into their upbeat repertoire. There’s the groovin’ “Wrong Kind Of Love”, the fast swingin’ “I’ll Treat You Right” and the irresistible and fun “Shake The Chandelier”. Good contemporary Blues minus excessive guitar solos, just good hooks, fine melodies and a solid band that knows when to rock and when to swing.  Insomniacsblues.com. -GMB