Virgil

George Thorogood and the Destroyers

George Thorogood and The Destroyers – Nadine

MCA Records – MCAD 20350
(previously released as Better Than The Rest)
Nadine – My Way – You’re Gonna Miss Me – Worried About My Baby – Night-Time – I’m Ready – My Weakness – Goodbye Baby – Huckle up Baby – Howlin’ for My Darlin’

Thorogood Nadine

The worst thing that can happen to a musician is slowly falling into a routine and losing the excitement of the beginning. It’s been quite a while since I’ve flipped over a George Thorogood album. I don’t mean they’re bad, they’re just a little exciting as they used to be.
“Nadine,” first published on vinyl as “Better Than The Rest,” reminds us how exciting George once was. This compilation is a collection of demos recorded in 1974 for MCA when the band was still looking for a contract. The band never got the contract, but these recordings were published by MCA by the time the Delaware Destroyers began to draw attention with their second Rounder release, “Move It On Mover.” Though it’s close to the first album, the sound is even rawer. Thorogood’s music has always been synonymous with sweat and beer, and it’s never been so true. The vocal is raspy (a good example is his version of Howlin’ Wolf’s “Howlin’ For My Darlin’,” the band is tight and nervous, and you can feel they definitely have something to prove. Of course, it’s not flawless, but it’s lively, and this is what this music should always be, right? As usual with George Thorogood (and the Delaware Destroyers), the program comprises Chuck Berry / Elmore James / Hound Dog Taylor Dog-influenced brands of boogie blues and some good rockers to make you bop and stomp your feet. Two acoustic songs bring some rest to the listeners after this flood of electricity: “Gonna Miss Me,” a variation around Muddy Waters’ “Can’t Be Satisfied,” and John Lee Hooker’s “Huckle Up Baby.” Some of the songs will resurface on later recordings in newer versions, but for the most part, you can find George’s versions of these covers only in this selection.There’s no musical revolution here, but who cares? This is just music to please your heart and drink a cold beer with. Fans of heavy-produced blues will disdain it, but true fans of authentic electric blues and early Thorogood’s album will like this one.

George Thorogood and the Destroyers – s/t

Rounder Records – 3013 [1977]
You Got To Lose – Madison Blues – One Bourbon, One Scotch, One Beer – Kind Hearted Woman – Can’t Stop Lovin’ – Ride On Josephine – Homesick Boy – John Hardy – I’ll Change My Style – Delaware Slide

George thorogood

Thorogood’s debut album, simply called “George Thorogood & The Destroyers” and released on the more bluegrass-oriented label Rounder, sets the (winning) recipe that’ll stay unchanged for many years. Thorogood is backed by the solid rhythm section of Jeff Simon, Billy Blough, and Ron Smith on “some tracks.” I remember reading somewhere that this album was first recorded with only Thorogood and Simon, but the label didn’t want to release it without a proper bass, so Bill Blough overdubbed his parts. It’s a deluge of slide guitar with Elmore James tunes (Madison Blues, Can’t Stop Loving), nods to Hound Dog Taylor, John Lee Hooker’s boogie (One Bourbon, One Scotch, One Beer) and Diddley beat (Ride On Josephine) and two Thorogood’s originals: Homesick Boy and Delaware Slide (that almost hits the 8’ mark). The whole thing is played with a youthful exuberance and a rock’n’roll attitude that are very refreshing and contribute to the success of this release. Add some acoustic numbers to calm the pace (a convincing Robert Johnson’s Kindhearted Woman and the traditional John Hardy), and you’ll get the perfect album to party and drink with your buddies.

George Thorogood and the Destroyers – More

Rounder Records – RR 3045 [1980]
I’m Wanted – Kids From Philly – One Way Ticket – Bottom Of The Sea – Night Time – Tip On In – Goodbye Baby – House Of Blue Lights – Just Can’t Make It – Restless

more George thorogood

Released in 1980, “More George Thorogood and The Destroyers,” the band’s 3rd album, finds George Thorogood at the dawn of breaking into the charts with the multi-platinum “Bad To The Bone.” And the sound reflects this slight evolution. It’s not yet the production you’ll find on Bad to The Bone, but since his first album and Move It On Over, the sound has polished a bit, and a sax player, Hank Carter, has joined the Destroyers. This exception made, the program is not very different from the previous albums, a good and solid mix of boogie blues inspired by John Lee Hooker (One Way Ticket), Elmore James (Goodbye Baby), Muddy Waters (an excellent rendition of Bottom Of The Sea where the rhythm section shines) and Hound Dog Taylor (Just Can Make It) with some detour by rockabilly (Carl Perkins’ Restless), a cover of Freddie Slack’s House of Blue Light and a powerful rendition of The Strangeloves’ Night Time. And, as usual, plenty of slide guitar. Before playing in front of thousands in giant arenas, the Destroyers proved with their first three albums that they were one of the best bar bands on the planet, able to make the audience laugh, cry, dance, and sweat.

George Thorogood and the Destroyers – Boogie People

EMI USA – CDP 7 92514 2 [1991]
If you don’t Start Drinking (I’m going to leave) – Long Distance Lover – Mad Man Blues – Boogie People – Can’t Be Satisfied – No Place To Go – Six Days On The Road – Born In Chicago – Oklahoma Sweetheart – Hello Little Girl

Boogie People

Released three years after “Born To Be Bad” and with the same line-up, “Boogie People” is in a similar vein but with a fuller production that serves Thorogood’s brand of blues better. As usual, he pays tribute to his heroes with covers of Chuck Berry, Howlin’ Wolf, John Lee Hooker (a mean version of Mad Man Blues), and Muddy Waters (an acoustic rendition of Can’t Be Satisfied).Lonesome George also has a couple of excellent self-penned numbers. The opener, the humorous and not politically correct “If You Don’t Start Drinkin’ (I’m Gonna Leave)” on which he complains about his sober girlfriend (Don’t give me no lectures / ‘Bout stress and strife / So-ber-i-ety / Just ain’t my way of life / You better change / Yes, I’m begging you please / Cuz if you don’t start drinkin’ / I’m gonna leave.) is a solid rocker; “Long Distance Lover” carries on the Elmore James/Hound Dog Taylor torch, “Boogie People” is a strong boogie-blues and “Oklahoma Sweetheart” a compelling country ballad. Talking about country music, they also cover Dave Dudley’s Six Days On The Road and turn it into a slide guitar festival. Boogie People is an excellent album, as good as any of his Rounder albums.

George Thorogood on Facebook.
Official website.

The Inmates

The Inmates – True Live Stories

Lolita 5012 [1984]
Sweet Lovin’ – Unchain My Heart – Love Me Two Times – Let’s Move – Heartbeat / The Walk – Shaking – Sister Sara – Dirty Water – Get Out Of Denver

Inmates - True Live Stories

In early 1982, the Inmates faced a crisis. Their album “Heatwave In Alaska” had taken a long time to release and turned out to be a commercial failure. As a result, the group found themselves without a record label or manager and in debt. Additionally, their drummer left the band. After recruiting Paul Turner as their new drummer through an announcement in Melody Maker, the band faced another setback. Bill Hurley’s already fragile health worsened, and he fell into depression, losing his voice. The band was now without a singer.
Realizing that Bill’s condition was not improving, Peter Staines (guitar), Tony Oliver (guitar), Ben Donnely (bass), and new member Paul Turner had to face the fact that Bill would need to be replaced. With Bill’s agreement, the band decided to find a replacement singer as they prepared for an upcoming tour to replenish their finances.

The Inmates selected Barrie Masters, from Eddie & the Hot Rods, a fantastic British group in the tradition of Doctor Feelgood but with a more pronounced punk touch. At the time Barrie joined the Inmates, Eddie & the Hot Rods had disbanded, with Paul Gray notably joining the Damned.
With Barrie’s arrival, the group lost its Rhythm ‘n’ Blues coloring but gained a more Rock ‘n’ Roll sound, sometimes tinged with pop. The Inmates then secured a contract with the French label Lolita (a subsidiary of the Evita label, which specialized in reissues of sixties garage bands). The deal involved a live record followed by a studio album.
Thus, at the beginning of February 1984, the Inmates recorded “True Live Story” at The Venue in London under the supervision of the excellent Vic Maile (who, in addition to the first two Inmates, produced – among others – Doctor Feelgood, Kursaal Flyers, and Eddie & the Hot Rods, that is to say, if we were on familiar ground).
The album starts off with a bang with “Sweet Sweet Lovin,” a perfect introduction. This rock ‘n’ roll composition by Peter was initially written for Doctor Feelgood, who recorded it on “Fast Women and Slow Horses” in 1982. While Feelgood’s version is excellent, the Inmates, with the help of Masters’ passionate and melodic vocals, completely reclaim the song. Any doubts about Barrie’s legitimacy within the group instantly disappeared.
They then continue with a fantastic cover of “Unchain My Heart,“ in an arrangement close to the version of the Undertakers, a Texan group from the sixties. The guitars are as aggressive as can be, the bass hums, and Barrie performs like hell. It then flows effortlessly into “Love Me Two Times,” the Doors classic. His voice is sometimes charming, sometimes desperate, and consistently superb. This is an opportunity to note the subtle work of Paul Turner on drums, particularly with the hi-hat. The song is so associated with the Doors that the Inmates’ performance is all the more admirable. Follows “Let’s Move,” a new composition by Peter. With this piece, the group approaches a more rockabilly repertoire. Even if it is pretty unusual and suits them a little less, the five rockers come away with honors, notably thanks to a superb guitar solo. Side A ends with “Heartbeat,” one of the band’s iconic tracks (so much so that the label asked for it to be included on the recording with “Dirty Water” and “The Walk”). Some may prefer Bill Hurley’s vocals on this track. But what the Inmates lose in vocal power, they easily make up for in devastating instrumentation, crowned by a magnificent bass solo.
We flip the record over and start side B with The Walk. If Bill’s absence could be felt, it’s on this track. This version is arguably the weakest moment on the record, but it’s quickly overshadowed by the almost perfect sequence represented by Shakin’ (written by Ben Donnelly) and Sister Sara (written by Peter Staines). Shakin’ sounds like a supercharged version of Peggy Sue, with Ben Donnelly’s bass being superbly highlighted by Vic Maile. After a surge of guitars and a drum break, we transition to Sister Sara, a pop-rock gem that is both melodic and tense. These two tracks seem perfectly suited for Barrie’s voice and are the standout moments on an album that is not lacking in them. The band’s signature track, the essential Dirty Water, follows. Even though Barrie’s voice is less angry and less Rhythm ‘n’ Blues compared to Bill Hurley’s, he performs exceptionally well. To say that the band is in top form is an understatement.
The album concludes in a grandiose manner (and I choose my words carefully) with a wild version of Bob Seger’s Get Out Of Denver. The song, strongly influenced by Johnny B Goode, had already been performed live by Eddie & the Hot Rods, so Barrie is comfortable covering it. With this track, the Inmates encapsulate the very essence of Rock‘n’Roll, its intrinsic purity and beauty. We experience the same sheer joy, devoid of calculation, which inspires young people worldwide to pick up guitars, form bands, and practice in a garage. Barrie completely throws himself into the performance and is nearly breathless, while Peter and Tony drown everything under a torrent of responsive guitars, supported by impeccable rhythm. The whole thing rushes like a train through the night and takes no prisoners. The album concludes, leaving the listener breathless and slightly dizzy, but eager for another round.
When listening to True Live Stories, we realize several things. First, the obvious: the Inmates deserve a more significant place in the Rock ’n’ Roll Pantheon. We also see that Barrie Masters was much more than a replacement; on the contrary, he knew how to bring his personal touch and allowed the Inmates to explore territories hitherto little frequented. We will also note Paul Turner’s all-too-brief stint within the team. His way of playing brings a different color, perfectly in line with the group’s repertoire at the time. Finally, we can never highlight enough the talent of Vic Maile, who succeeds in capturing the energy of Inmates. With True Live Stories, we probably have one of the best sounds for an album recorded live. When that sound is in the service of such a rocking’ machine, you can’t resist (or maybe you just don’t like Rock ‘n’ Roll).

Fred “Virgil” Turgis

He Took Us By Storm (various artists)

he took us by storm

V/A – He Took Us By Storm

Bear Family – BCD17699
Dion – Two Ton Feather – Eric Andersen – Honey – Dick Campbell – You’ve Got To Be Kidding – Bobby Darin – Me & Mr. Hohner – P.F. Sloan – Halloween Mary – Jackie Washington – Long Black Cadillac – Len Chandler – Feet First Baby – David Crosby – Willie Jean – Lou Reed – Men Of Good Fortune (May 1965 – Demo) – Casey Anderson – Little Girl – Bubba Fowler – Next Year This Time – Dean DeWolf – Pistol Slapper Blues – David Blue – The Gasman Won’t Buy Your Love – Tom Rush – You Can’t Tell A Book By The Cover – Barry McGuire – Don’t You Wonder Where It’s At – Bob Seeger & The Last Heard – Persecution Smith – Ferre Grignard – Drunken Sailor – Peter LaFarge – Easy Rider – Donovan – Universal Soldier – Boz Scaggs – Baby Let Me Follow You Down – Joe South – These Are Not My People – Leon Russell – Everybody’s Talking About The Young – Johnny Winter – Birds Can’t Row Boats – Dino Valenti – Black Betty – Sammy Walker – Vigilante Man

he took us by storm

One can measure the importance of great artists and their impact by the fact that there is a before and an after. Elvis Presley is probably one of the most obvious examples. Its appearance caused a cultural revolution, changed mentalities, and sparked an incalculable number of vocations. In another register, we can also cite Billie Holiday, whose vocal style influenced almost all the singers coming after her. To continue with John Hammond’s protégés, there is the Bob Dylan case. His arrival on the Folk scene in the early sixties caused an earthquake, mainly with the release of his second album, The Freewheelin’ Bob Dylan, containing the classics Blowin’ In The Wind, Don’t Think Twice It’s Alright, and A Hard Rain’s Gonna Fall. With this record, Dylan elevated Folk to a higher level of intelligence, songwriting, and interpretation. His phrasing, melodies, and poetry, the same that would earn him the Nobel Prize years later, changed the way of writing songs forever.
As if that were not enough, he caused a second earthquake just as powerful, if not more so, when he plugged in his guitar in July 1965 at the Newport Folk Festival and released two classics in a row the same year: Bringing It All Back Home and Highway 61 Revisited. Once again, popular music was turned upside down, and things were never really the same after that.
Like all earthquakes, these were followed by smaller aftershocks. This perfectly titled compilation invites us to explore this fascinating world.
If Bob Dylan does not sing, play a note on this record, or sign any song, he is nevertheless omnipresent and irrigates the almost 74 minutes of this compilation.
The idea is brilliant, and we can only wonder why no one had it before: bringing together contemporary artists of the Kid from Greenwich Village (all the titles, bar one, were recorded before 1970) and tracing the influence that he may have had on them.
The 25 titles that compose He Took Us By Storm intelligently alternate between established (Dion, one of Dylan’s idols, Bobby Darin), on the way to becoming famous (David Crosby, Lou Reed, Bob Seger, Johnny Winter, who will record a cover of Highway 61 Revisted on Second Winter), and more confidential artists. They show how these artists all drew more or less consciously and to varying degrees from the influence of his Bobness.
From there, beyond the simple musical pleasure (because it must be said, there is nothing to throw away here), the record becomes, for the Dylanian, an exciting and fun treasure hunt. We have fun tracing the various borrowings: a line of text or a wording here, a melody there, a vocal intonation or a harmonica riff elsewhere.
Like with Lou Reed, these titles often show that the Dylan phase is only a stage before finding their own voice. Surprisingly, if some are on the verge of plagiarism (listen to Long Black Cadillac, which is more than reminiscent of Like A Rolling Stone, or the selection by Bob Seger, which sounds like a garage version of Tombstone Blues), these songs still remain despite all very personal, demonstrating intelligence in the selection.
Helped by the copious and detailed booklet, we travel through this disc, discovering several artists that the great history of Rock has not necessarily retained but giving us the envy to know more.
The only minor (but very minor) regret is the presence of only English-speaking artists. I would have liked to discover Dylan’s followers singing in Italian, Greek, French, or Norwegian. But let’s rejoice because this could perhaps be the subject of a second volume.

Buy He Took Us By Storm here.

Fred “Virgil” Turgis

Long John Thomas and the Duffs

Long John Thomas and the Duffs – Presenting

Wormtone Records – WT-508 [2006]
Ain’t She Sweet – Shake, Shake Little Gwendolyn – Buckle Shoe Stomp – Be Cool – Excuse Me Baby -. So What – 9 Times Out Of 10 – Move It Baby – Dynamite – Girl With The Pretty Face – Fish & Chips – Uh Huh, Oh Yeah – Having A Wild Weekend – Does Your Chewing Gum Lose It’s Flavor (On The Bedpost Overnight)

Long John Thomas and the Duffs

In a world where you can find a Western swing band in Helsinki, a jump blues band in Madrid, and a rockabilly combo in Zagreb, I shouldn’t be surprised to stumble upon a Merseybeat-influenced trio in Missouri. Long John Thomas and the Duffs (Tim Hopmeier on bass, Scott Lasser on drums, and Ray James on vocals and guitar) are more English than the Queen Mum herself. They have the accent, the car, the hat, and they even have a song they wrote called Fish’n’Chips (I thought only Englishmen were proud of their food!).
Musically, they are heavily influenced by Johnny Kidd (look at the pic on the cover; doesn’t he remind you of someone?), Cliff Richard (they cover Dynamite) and the early Beatles from the Hamburg days (the album opens on Ain’t She Sweet based upon the Tony Sheridan/Fab Four arrangement). But they are not a revival or a nostalgic act. They write good songs that find their place ideally in the set and bring a bit of modernity to their music with some garage incursions sometimes close to Thee Milkshakes. Besides, John’s voice bears certain resemblances with Mickey Hampshire’s. The album ends on a solid cover of Lonnie Donegan’s “Does Your Chewing Gum Lose It’s Flavor.”

Fred “Virgil” Turgis

Jimmy and the Mustangs

Jimmy and the Mustangs – Another Round

Self-released [2015]
Roll The Dice – Cherry Bomb – Ready Sey Go! (A Tribute To Gene) – Her Love Is Gone, Rock My World – I Won’t Cry For You – Hotel San Jose – Bourbon Street – Love Is Just Pretend – Long Black Train

Jimmy and the mustangs

If you’re searching for a great Rock’n’Roll album (and I mean Rock’n’Roll, like Eddie Cochran, not the bland music often labeled Rock), look no further—these ten songs by Jimmy and the Mustangs are for you. There’s nothing revolutionary here, but that shouldn’t be viewed negatively; in fact, it’s quite the opposite. We don’t expect every record to reinvent the genre. Just like when you order a hamburger, you’re not looking for exotic flavors but rather a familiar and comforting taste. That’s precisely what “Another Round” offers.
In this new incarnation of Jimmy and the Mustangs, Jimmy Haddox has assembled a talented lineup, including Tom Coplen on guitar, Dylan Cavaliere on double bass, John Powell on drums, and Stefano Intelisano on piano. Haddox also takes on the producer role, collaborating with Mark Younger Smith, who previously played guitar for Billy Idol. A standout feature of this album is that it never feels like a mere recreation or pastiche, nor does it lean too heavily into modernity, ensuring it won’t quickly become outdated. The sound is timeless, reminiscent of the best Stray Cats or the Blasters recordings.

The record opens with “Roll The Dice,” a Rhythm and Blue tune featuring saxophone elements that evoke “Look At That Cadillac” and Colin James’ “Little Big Band,” allRock’n’Rolld by an excellent guitar solo. The next track, “Cherry Bomb,” is a vibrant Rock and Roll experience characterized by a lively piano, a powerful sax solo, and, once again, a striking guitar solo (which will be a constant throughout the record). The rhythm is robust without being heavy—a notable achievement.

As expected from its title, “Ready Set Go: A Tribute to Gene” borrows its melody from “Cruisin’” and draws on the guitar style of Cliff Gallup. However, the group smartly avoids falling into the trap of pastiche, infusing the song with their unique style, particularly through the saxophone.
It’s unfortunate that while artists from the 1950s embraced ballads, few contemporary groups venture into this genre. Perhaps this is because singing well and adding vocal nuances requires a certain skill. Regardless, this isn’t a challenge for Haddox, who captivates us with the stunning “Her Love Is Gone,” a track that Chris Isaak would surely appreciate.

With tribal drums reminiscent of Bo Diddley, “Rock My World” charges ahead without hesitation. Guy Forsyth from Asylum Street Spankers adds a pWon’tul harmonica performance that elevates the track. In “I Won’t Cry For You,” we again hear the harmonica alongside brass instruments in a swamp rocker that perfectly blends the sounds of the Blasters and Dave Edmunds, transporting listeners straight to Louisiana.
While in Louisiana, we head straight to New Orleans, with “Hotel San Jose,” in homage to Fats Domino. Heather Rae Johnson joins the band on fiddle for “Bourbon Street,” an excellent Honky Tonk song infused with Rhythm and Blues, enhanced by a solid twangy guitar. “Love Is Just Pretend” is another 50s ballad featuring Doo Wop accompaniment and organ, which instantly transports us to a prom in 1957.

This too-short album concludes with a Rockabilly-Blues track driven by a strong rhythm and complemented by an effective slide guitar. In ten songs, Jimmy and the Mustangs manage to remain concise and engaging without ever succumbing to filler. Overall, we have a superb Rock and Roll album in the truest sense, free of pretension, which is what makes it so great.

Fred “Virgil” Turgis

Duck and Cover

Duck and Cover – The Pasadena Recordings

Heptown Records HTR045 [2009]
Pick Up My Heart – The Way You Look At Me – Funnel of Love – You Sound So Angry – Lovestruck – One Tear Away – Time Has Forgot – Squarehead Boogie – I Can’t Stop Leavin’ You – Wall of Shame – Window Shopping – One Way Love – Fight or Flight – Lonesome Train

duck and cover album cover

Duck and Cover is a Danish band consisting of Johanne Mortensen on vocals, Peter Knudsen on electric and steel guitar, Paolo Molinari (who was in the first lineup of Nekromantix) on double bass, and Lars Ole Nielsen on rhythm guitar. They traveled from Denmark to Pasadena to record the album under the guidance of Wally Hersom. Wally also played double bass on a couple of tracks, and Pappy Stuckey provided extra help on drums for five tunes.

The album includes eleven self-penned songs, mostly by Peter Knudsen, with two contributions from Paolo and one co-written by Johanne. Additionally, the album features three classic covers: Hank Williams’ “Window Shopping,” Wanda Jackson’s “Funnel Of Love,” and Johnny Burnette’s “Lonesome Train.” Their repertoire spans hillbilly boogie, hillbilly swing, rockabilly, country ballads, and Hank Williams-style music ( One Tear Away sounds very similar to Cold Cold Heart and Fight or Flight has the same haunting feeling, especially on the steel guitar, you can hear on Ramblin’ Man). Mortensen’s vocals are reminiscent of Brenda Lee, with a slightly less convincing performance on straight rock’n’roll numbers like “Lonesome Train.” Overall, it’s a good debut album presented in a well-designed digipack.

Fred “Virgil” Turgis

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