Virgil, Auteur à the rockabilly chronicle

Billy Childish

30 July 20244 November 2024

Reviews

Billy Childish, poet, painter, musician, bluesman, punk rocker, but most of all amateur “The amateur always beat the professional hands down because he does what he loves. The amateur is free to explore is free to explore and express himself because he doesn’t have to hide behind his status.” Billy Childish was/is a member of the Milkshakes, Headcoats, Mighty Caesars, William Loveday Intention, The Buff Medways, and many more.

Billy Chidish – The Ballad Of Hollis Brown

Sub Pop – SP151
The Ballad Of Hollis Brown / Grizzerly Bear

One could describe Billy Childish as a punk hiding in the disguise of a folk artist, or a folk artist hiding in the disguise of a punk, depending on the release. This single was released in 1992 on Sub Pop and presents Childish at his most lo-fi blues side. Side A, recorded with Bruce Brand on drums and Johnny Johnson on harmonica, is a haunting and dark song from Bob Dylan’s third album, “The Times They Are A-Changin’”. Childish’s raw voice is ideally suited for conveying the drama of poverty. Originally a folk song, it has become a crude and brutal Bo Diddley-sounding tune. Childish would later record numerous albums of Dylan covers with his group, The William Loveday Intention, each better than the last.

Side B is a 1966 song recorded by Benny Richardson, an African American inmate at Ellis Farm Prison in Texas. It’s an acapella work song that follows a question/answer pattern, featuring Medway Delta Choral Society (featuring Kyra and probably Holly Golightly).

Charlie Thompson

28 July 202430 July 2024

Reviews

Charlie Thompson, is a British Hillbilly, Honky Tonk, Rockabilly and Western Swing singer.

Charlie Thompson – Untamed Heart

Fairlane Records – FCD002 [2024]
New Love – Untamed Heart – Just Inside Your Arms – Waltzing With Sin – That’s When I’ll Start Loving You Again – Pick Me Up On Your Way Down – Mansion On The Hill – I’m A Fool – Lonesome Dove – I Wish I Knew – You Make It Sound So Easy – Close All The Honky Tonks

It’s well known, and Bo Diddley even sang it: “You can’t judge a book by looking at the cover.” It’s true. Well, partly. Because when you hold Charlie Thompson’s new album in your hands, with its superb cover designed by the talented Chris Wilkinson, you can’t help but have a good feeling. And when you put your record on the turntable (or in your player) and listen to it, this impression is more than confirmed. But if you know Charlie Thompson, it’s not a surprise but a sparkling confirmation.
Thompson is a craftsman. He works slowly and takes the time to fine-tune his work (Since his career started about twenty years ago, he has released fewer albums than Billy Childish in six months). This is why each album is precious, and the amateur knows how to appreciate his music at its true value, as it‘s distilled with parsimony.
The British singer has a knack for working with top-tier musicians. His recent albums have featured standout artists from Scandinavia (such as Jussi Huhtakangas, Jurki Juvonen, Markku Juvonen, Carl Johan Viktor) and California (including TK Smith, Jeremy Wakefield, Dave Stuckey, Wally Hersom). For his latest album, he brought together a new group of exceptional musicians. The honky-tonk style of the album naturally led the project towards Texas, specifically Billy Horton’s Fort Horton studio. Alongside Thompson, the album features Billy Horton on double bass, his brother Bobby on rhythm guitar, Dave Biller (known for his work with Dale Watson, Wayne Hancock, and Charley Crockett) on guitar and steel guitar, Buck Johnson (from Shaun Young and Marti Brom‘s bands) on drums, Jason Roberts (who has performed with Asleep At The Wheel, Don Walser, and James Hand) on fiddle and mandolin, T Bonta (a versatile pianist who has collaborated with numerous artists in Austin), and Nathan Fleming (known for his work with Jesse Dayton, Charley Crockett, and Theo Lawrence) on steel guitar. While Winston Churchill is credited with the phrase, “I am easily satisfied with the best,” looking at this lineup, Thompson could easily adopt it as his own.
This top-notch team serves a repertoire based on traditional Honky Tonk and Country Shuffles. The group is so steeped in this style that it plays this music without any lack of taste or concession to modernity. What’s remarkable is that the whole thing never sounds like a stiff and dusty museum piece. On the contrary, the songs, mostly covers from artists like Melvin Endsley, Hank Williams, Charlie Walker, Hank Locklin, and Sonny Burns, are played with astonishing naturalness and authenticity. Additionally, the two modern compositions fit seamlessly into the mix, whether it’s the mid-tempo “That’s When I’ll Start Loving You Again” written by Tobias Einestad of the Domestic Bumblebees (who also writes for the Country Side Of Harmonica Sam) or the wonderful “Lonesome Dove” written by Thompson, reminiscent of “The Bend Of the River” by Marty Robbins.
But of course, I saved the most important, the best, for last. I’m talking about Thompson’s voice, the real star of this record. Because if Honky Tonk is an ultra-codified genre, it is also an unforgiving music. The musicians are mainly there to create a setting on which the voice rests. It’s music for singers and emotions. Charlie Thompson has the means to achieve his ambitions. He tackles this repertoire with rare grace and elegance, behind which there is a slight relaxation. With this clear, calm, and controlled voice, without ever cheating, he weaves a direct emotional link with the listener, playing with an inflection to introduce a subtlety or an emotion to touch you deeply.
As you will have understood, I hope, Untamed Heart is a rare example of a perfect album from start to finish, from the first glance at the cover to the last note of the final song, which continues to resonate with the listener long after the end of the record.

Available on Charlie’s website and from most specialist rockin’ record dealers.
It should also be up on every major streaming platforms shortly.

Charlie Thompson – The Foothill Sessions

Fairlane Records FCD001 [2015]
Going Like Wildfire – The Automobile Song – A Blue Million Tears – Boogie Blues – We’re Buggin’ Out – I Don’t Care – Let Me Love You Just A Little – So Long – You Tried to Ruin My Name – Ain’t Never Gonna Get Married Again – (We’ve Reached) The Beginning Of the End – I Miss You Already

Beautiful as a Faron Young ep on Capitol (perfectly designed by Chris Wilkinson of the Bonneville Barons and the Zazou Cowboys), here comes Charlie Thompson’s latest output. I believe this one had been recorded a while ago as I heard of these sessions from years now (which makes me feel less guilty for my belated review). It’s also a proof that Charlie didn’t want to release it until he finds it perfect and boy, IT IS PERFECT.
Helped by what could be best described as a dream team of musicians (Jeremy Wakefield on steel, Wally Hersom on bass, Dave Stuckey on rhythm guitar, drums and harmony, Carl Sonny Leyland on piano, TK Smith on guitar and Bobby Furgo on fiddle) and recorded by Wally Hersom at his Wallyphonic studio this platter not only looks but also sounds as if it came straight from the 50’s, a period when country music and honky tonky tonk still meant something.
To put it frankly, this is the best album of traditional country music I’ve heard in ages. Actually I can’t even remember having heard such a good mid-50’s honky tonk album played by a modern artist before. The songs choice (coming from the catalogues of Luke McDaniel, Carl Peterson, Webb Pierce, Jim Reeves, Moon Mullican, Pee Wee King and so on) is also very good mixing slow numbers with more rollicking and swinging stuff (it must be hard to resist with a band like this). And of course there’s Charlie’s voice, sounding like Faron Young, Dave Rich and Marty Robbins all rolled into one but in the same time sounding like none other than Charlie Thompson.
If by now you are not taken by a compelling need to buy it, we both have a problem: me as a reviewer and you with your musical tastes.

Fred “Virgil” Turgis

Juvies (the)

23 June 202423 June 2024

Reviews

The Juvies – Playin’ Hookie

Rage Records Rage LP 106 [1990]
Blackboard Jungle – Alligator Shoes – No Way Out – Breakin’ It Up – Gotta Run – Playin’ Hookie – Jukebox Jill – Sunset This Morning – On The Road – Into The Fire

The Juvies, from Yorkshire, formed around 1984 with Darren Juvie, aka Darren Pawson (vocals and guitar), Mitch (drums), and Gary Brooks (double bass). Like Fractured, with whom they share more than one thing in common, The Juvies released only one too-short album in 1990 before disappearing two years later.

That a band of this quality leaves only these ten songs as a testament to their talent, while groups like the Rockats (the Dutch Psychobilly group) managed to release three albums definitively proves the non-existence of any Rock’n’Roll gods (sorry, guys, nothing personal).

The album starts with a strong punch in Blackboard Jungle, a track that bridges the virtuosity of Restless and the edginess of Batmobile. The next piece continues in a similar vein, with a pulsating rhythm and a double bass line reminiscent of Rumble In Brighton, leading to a clear and precise guitar explosion.

No Way Out has a strong rhythm and a disturbing atmosphere, characterized by haunting guitar riffs and intense vocals, which deviates a bit from the usual genre standards. Jukebox Jill is a brilliant demonstration of Neo-Rockabilly at its best, with its upbeat rhythm, galloping guitar, and nervous vocals. The Juvies take the melody from Got My Mojo Working and transform it into Sunset In the Morning. This is not a mere copy but a brilliant adaptation, as the trio changes the lyrics and creates a new genre that could be defined as Neo-Rockabilly-Blues.

On the Road combines a welcome country touch with high-end neo-rockabilly. Breakin’ It Up features a mix of neo-rockabilly, dancing rock ‘n’ roll, and doo-wop harmonies. This diverse blend is also evident in Playin’ Hookie, with an unexpected guitar solo reminiscent of the best Nitros songs. The band’s ability to transition between different musical atmospheres is highlighted in Gotta Run, a powerful rock song with a distorted guitar. The album concludes with the wild Into The Fire, demonstrating the band’s comfort in exploring diverse musical styles.

The album is produced by Darren Pawson, the band’s singer-guitarist, and Roger Tebutt (Happy Drivers, Long Tall Texans). They find the perfect balance between instruments and how to highlight each tunes. We mainly notice the care taken with the guitars’ sounds and textures, which gives a varied and constantly surprising album. In short, this far-too-short album is a success from start to finish.

Fred “Virgil” Turgis

Dutronc

12 June 20244 November 2024

Reviews

Dutronc – Mini, Mini, Mini

Wild Wild Records – WILD 4 [1995]
Mini Mini Mini – Sur Une Nappe De Restaurant / Les Gens Sont Fous, Les Temps Sont Flous – Ça Plane Pour Moi

Dutronc, as its name suggests, is a Franco-British tribute band to Jacques Dutronc, a renowned French singer and songwriter, formed in the mid-1990s. The group is made up of well-known figures of the Medway and British garage scene, including Parsley (Billy Childish and the Blackhands, The Adventures of Parsley) on vocals, Bruce “Bruno” Brand (Milkshakes, Headcoats) on guitar, Rudie Spence on bass and Debbie Green aka Bongo Debbie (Ug And The Cavemen, Headcoatees) on drums.

This EP, which was released in 1995, features three covers of Jacques Dutronc and “Ça Plane Pour Moi” by Plastic Bertrand.

Parsley sings everything in French with a very strong English accent, which gives the group its unique identity. The band emphasizes the original characteristics of the songs. “Sur Une Nappe De Restaurant” is a psychedelic blues with the appropriate organ. “Les Temps Sont Flous” is supported by a heady buzzsaw fuzz guitar, and “Mini Mini Mini” could rival the best of The Kinks. The EP closes with a powerful version of “Ça Plane Pour Moi,” also covered by the Headcoatees during the same period.

This EP, along with most of Dutronc’s recordings, is a curiosity that will interest any fan of the Medway scene.

Debbie & Jackie

Chicken Jump Skips

11 June 202411 June 2024

Reviews

Chicken Jump Skips – Fly Back!!!

Thousands Records – 1000CD-047 [2024]
Honey Hush – Battle Back – Live Wire – Mess Around – Go Heavean – Jailhouse Rock – Mad Stone – Your Wildcat Ways – Saddle Soap

Chicken Jump Skips is a band with origins dating back to 1991. Over the years, it has evolved to its current lineup. The band’s first album, released in 2016, demonstrated their talent with an impressive rendition of “Sing Sing Sing.” Now, in 2024, they are back with their second album, which primarily features cover songs. Despite the potential difficulties that come with covering other artists’ work, Chicken Jump Skips’ creativity and skill shine.
The album begins with a strong version of “Honey Hush,” a cover that is certain to capture your attention. Imagine Johnny Burnette’s rendition, but performed at a thrilling 78 rpm, complete with a powerful double bass that will resonate through your surroundings. In just a minute and thirty seconds, the band leaves a lasting impression.
The next track, “Battle Back,” doesn’t skimp on the double bass. It has a perfect melody and a very good structure, alternating between slow and fast parts. A short, original guitar solo brightens up the whole song. Psychobilly is a genre known for mixing with Metal (with various degrees of success). Among the successes is the excellent cover of “Ace Of Spades” by Batmobile. Now we have to consider Chicken Jump Skips’ version of Mötley Crüe’s “Live Wire,” which sets the bar very high and is on par with Batmobile. They manage to maintain the energy of the original track and its characteristic breaks while infusing their own Psychobilly touch. Once again, we can’t help but notice the enormous work of the rhythm section.
We continue with another successful cover with “Mess Around” (Ray Charles), which, in the expert hands of the trio, becomes a clever mix between Ska and Psychobilly with a frantic voice. One of the group’s great qualities is that, although they often play at tempos that would make Chuck Yeager blush, they always remain very melodic, as “Go Heaven” proves. At times, we would be tempted to compare them to Batmobile; this is particularly obvious when we listen to their version of Jailhouse Rock, which copies the melody of its verses from “Bambooland” (and given the result, it is an excellent idea!). “Mad Stone” alternates wild parts with more pop moments. “Your Wildcat Ways” should irritate many a Rockabilly purist, but how good does it feel to hear a band having fun and playing without worrying about anything other than having a good time.
“Saddle Soap” (released in 1985 on the Roughnecks’ first EP) ends the album on a melodious, more Rockabilly note, and it is just as successful.
Furthermore, Chicken Jump Skips has the excellent idea of making a short album (nine tracks and less than 22 minutes), which avoids any attempt at filler and leaves the listener breathless and asking for more (which is always a good sign).

Fred ”Virgil” Turgis

The Barnshakers

10 June 202411 June 2024

Reviews

The Barnshakers – Standing Room Only

Goofin’ Records GRCD 7000
Got The Bull By The Horn – Where There’s A Will – Standing Room Only – Beggar’s Blues

It’s always good to hear new material from the too-rare Barnshakers, even if it’s only for four far-too-short tunes. The group has a new drummer and now performs without a piano (which was also the case on their previous single, if I’m not mistaken.) Apart from that minor change: the Barnshakers continue to be the best Rockabilly and Boppin’ group from the European continent.
The group delivers a strong performance with an excellent cover of “Got The Bull By The Horns,” which is more similar to Hugh Barrett’s version than to Johnny Horton’s. The tension in the song and its late 50s/early 60s arrangement perfectly suits the group. This is followed by a cover of a Dave Dudley song, “When There’s A Will ,” which takes the group towards more country music. The same can be said for “Standing Room Only” (Johnny Sea), which sounds like a Johnny Cash song from the mid-1960s. The last song, and the only original composition, is more in the spirit of Charlie Feathers. This is not particularly surprising considering that Vesa Haaja also recorded an album dedicated to Charlie Feathers with the Hi-Fly Rangers, his other group.

The Barnshakers ‎– Whiskey River / Hollow Grave

Goofin’ Records ‎– GRSI 224 [2012]

Another excellent single released by the Barnshakers. The A-side is a cover of Johnny Bush’s Whiskey River, also a hit for Willie Nelson. They deliver a superb muscled-up version with powerful slap bass and intense vocal by Vesa.
The flip is an excellent Rockabilly with harmony vocals, typical of the style of the band.

The Barnshakers – Twenty One

Goofin Records GRCD6130
Twenty-One – Come On – Bop Bop Ba Doo Bop – Have A Ball – Knock Knock Rattle – Everybody’s Trying To Be My Baby – Yah! I’m Movin’ – Wiggle Like A Worm.

Very good mini cd from the Barnshakers, one of the best, if not the best european band in activity made of one studio track and seven live recording. The studio track “Twenty One”, a Vesa Haaja’s own, is an immediate addictive song with its great vocal and lead guitar part and the piano support. This song proves how right they were to add a piano in their line-up. The live show, with the exception of “Wiggle Like A Worm” is made of covers and songs that were never recorded in the studio by the band. This gives another interest to this record to hear them playing classic songs by Wynn Stewart (Come On), Lew Williams (Bop Bop Ba Doo Bop) and Carl Perkins (Everybody’s Trying To Be My Baby). The set ends with a frantic Vesa singing and screaming on “Yah! I’m Movin’” and “Wiggle Like A Worm” with Lester playing Burlisonnian licks. By far the best cut of this record. An advice, if you want it, you should hurry as the cover states it’s a limited release…

The Barnshakers – The Single album

Goofin Records GRCD6126 {2004}
She Done Quit Me – So Doggone Blue – Big Sandy – Ooh’ Baby -Complicated Fool – Who’s Gonna Be The Next One Honey – When I Take My Sugar To Tea – Take One – Wiggle Like A Worm – Choo Choo’s Coming Back – Desperate Santa – Santa’s Got A Brand New Steel Pedal – Hocus Pocus – Gone A-Rockin’ – You’re The Cause Of It All – Tell My Baby I Love Her – Move On – What’cha Gonna Do – Boppin’ In Roswell – Raining In My Heart – What’cha Doin’ To Me – Lotta Lotta Women

It’s a good idea to issue all the Barnshakers singles on one cd as some are not that easy to find. You can also see the evolution of the band through the years from the rockabilly of the beginning to the addition of a piano player and the touch of boogie of today. The first single shows what a good songwriter Jussi Huhtakangas (aka Lester Peabody) is, too bad he doesn’t write more songs. Vesa, the lead singer and main writer wrote my two favourite songs on the cd issued from the Xmas single «Desperate Santa» and the great «Santa’s got a brand new pedal steel». You got some covers too and a song penned by Shaun Young. So what could you ask for more ? Unissued material ? You’ve got it, two new songs recorded in 2004. So I guess you understood this record is a must have for all Barnshakers and rockabilly fans everywhere.

The Barnashakers – Complicated Fool

Goofin’ Records – GOOFY 546 [1994]
Complicated Fool – Whose Gonna Be The Next One Honey / When I Take My Sugar To Tea – Take One

This superb EP opens with Complicated Fool, a superb Rockabilly tinged with Hillbilly, which is a composition by Vesa Haaja, the singer of the group. Peabody’s guitar and Haaja’s vocals, capable of alternating Rockabilly tension, Hillbilly style and the softest crooning, are the two elements that jump to the ears first. Still, one should not forget the rhythm section. Mika Liikari (double bass) and Mike Salminen (drums) are Europe’s answer to the rhythm section that Bobby Trimble and Wally Hersom of the Fly-Rite Trio formed.
Next comes a cover of Whose Gonna Be The Next One Honey (Hal Goodson & the Raiders in 1957). The Barnshakers’ version is very close to the original, although softer, thanks to Haaja’s fabulous singing.
The first track on side B is a cover of When I Take My Sugar To Tea, a song from the early 1930s, made popular by artists as talented as the Boswell Sisters, Bing Crosby and Nat King Cole, to name a few. The Barnshakers approach their version by adding a Gene Vincent touch, reminiscent of him when he covered standards such as Up A Lazy River or Peg O My Heart. The rhythm is subtle, Vesa croons and the guitar part is sparkling.
Speaking of guitar, the last piece is a cover of Take One, Phil Baugh’s very jazzy instrumental. It is a tour de force and a demonstration of Lester Peabody’s know-how.

Fred “Virgil” Turgis

The Barnshakers (left to right: Mike Salminen, Vesa Haaja, Mika Liikari, Lester Peabody).