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He Took Us By Storm (various artists)

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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

Sandy and the Wild Wombats

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Sandy and the Wild Wombats – The Girl Can’t Help It

Jazztank – TANK 15102 [2015]
The Train Kept A-Rollin’ – Wild One (Real One Child) – Casting My Spell – The Girl Can’t Help It – Have Love Will Travel – Sleepwalk – Drivin’ My Life Away – Riot In Cell Block #9 – Please Don’t Touch – Hoy Hoy – Got A Lot o’livia’ to Do – The Ballroom Blitz

Sandy and the Wild Wombats

Sandy and the Wild Wombats are a German combo led by Sandy, a young girl with a sandpaper voice reminiscent of Wanda Jackson and Kick ’em Jenny. The Wild Wombats consists of Mark Twang on guitar, Marvell Storm on double bass, and Matty Stroke on drums.
This album features only covers, but the band’s renditions of those songs are pretty personal. Although I typically prefer bands that perform their original songs, it’s not a major issue in this case.
Additionally, Sandy and the Wild Wombats benefit from a strong rhythm section and an exceptional guitar player who has developed a unique style blending 1950s guitarists with influences from 1960s bands like the Sonics and the Pirates (and I wouldn’t be surprised if he’s also a fan of Paul Fenech). When combined, this mix is quite explosive.
The set mostly features wild rockabilly, but it also includes slower songs, a country-tinged number, and rockabilly renditions of glam rock, offering something for everyone.

The album was later reissued on vinyl by Bear Family with an extra track, an excellent cover of the Guana Batz‘s Electra Glide In Blue.

Fred ”Virgil” Turgis

Bob Wills and the Texas Playboys

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Bob Wills – Ida Red Likes The Boogie

Bear Family – BCD 17647
There’s not a hundred miles left in me – Nothin’ but the best for my baby – Charlie changed his mind – Steamboat stomp – Keep knocking (but you can’t come in) – Don’t be ashamed of your age – I didn’t realize – Ida Red likes the boogie – Trouble, trouble blues – Talkin’ bout you – So let’s rock – Bottle baby boogie – The devil ain’t lazy – Twin guitar special – Snatchin’ and grabbin’ – I’ll have somebody else – Yearning (just for you) – What’s the matter with the mill – Texas drummer boy – Cadillac in model ‘A’ – Sugar baby – Hubbin’ it – Nothing but trouble – Whoa babe – Jolie Blond likes the boogie – I laugh when I think how I cried over you – Bring it on down to my house – Rock-a-bye baby blues – Pray for the lights to go out – I won’t be back tonight

Bob Wills

When I come across a new Bob Wills record, I have an almost Pavlovian reflex: I must buy it. Not to mention that this one is part of the excellent series Gonna Shake This Shake Tonight from the German label Bear Family.
At first glance, this compilation seems a bit unbalanced and shaky. The first period, from the first recordings of the Texas Playboys until 1947, is considered the richest by many, yet only seven songs represent it. It’s not much, given the catalog variety, especially since none come from the Tiffany Transcriptions, but perhaps it’s a question of rights. However, it’s a shame to miss out on the dirty and sparkling guitar parts of the great Junior Barnard, which prefigure Rock’n’Roll. Even this selection, for a compilation more oriented towards stirring pieces, forgets phenomenal instrumentals such as “White Heat” or “Playboy Stomp.” But let’s not shy away from our pleasure and enjoy Wills’ vocals on “Yearning,” the Shamblin/McAuliffe duel on “Twin Guitar Special,” or this demonstration of Swing that is “Woah Babe.”
The next part of the collection features 18 titles from the MGM period, which is a great addition. Wills’ MGM period is often underestimated, mainly due to Tommy Duncan’s departure in September 1948. After Duncan left, Wills never found a singer as good or charismatic. The post-war period marked the end of large orchestras. But the Texas Playboys almost reinvented themselves by replacing brass instruments with new guitar, steel guitar, and electric mandolin arrangements, taking their music to new heights and sometimes foreshadowing the emergence of Rock’n’Roll.
Songs like “Ida Red Likes The Boogie,” “Bottle Baby Boogie,” and “Rock A Bye Baby Blues” show the influence of Billy Jack, Bob’s younger brother, who was more in touch with the music of his time. These songs are reminiscent of what Bill Haley would later do with the Saddlemen. The selection also includes blues like “Trouble Trouble Blues” (sung by Bob, not by his brother Luke as erroneously credited in the discography), two excellent songs written by Cindy Walker (“Don’t Be Ashamed Of Your Age” and “Hubbin’ It”), and Western Swing gems that can stand up to comparison with the Okeh sides (“I Didn’t Realize,” “I’ll have Somebody Else”).
Unfortunately, things took a downturn when Wills moved to Decca after MGM. The January 1956 session produced “So Let’s Rock,” an attempt to ride the emerging Rock wave that is rather embarrassing. “Sugar Baby,” sung by Darla Darett, is only marginally better.
In 1960, Wills joined Liberty and reunited with Tommy Duncan. From the April 21, 1960 session, Bear Family selected “What’s the Matter With The Mill.” Despite being slightly weighed down by a heavy electric bass, it is nevertheless an excellent swinging song with brilliant solos.
Dating from 1968, “There’s Not A Hundred Miles Left In Me,” is an excellent Honky Tonk. However, it’s not easy to recognize the richness of Bob Wills’ music behind the Nahsvilian production.
“Talkin’ Bout You” comes from one of the last recording sessions by Wills and gives the impression of a man diminished by illness. Fortunately, Bear chose not to present the songs chronologically, which prevents this good compilation from ending on a somewhat sad note.
This compilation may not be the best to showcase Wills’ genius and rich musical career. A selection from the first period or the Tiffany Transcriptions might be preferred. However, for those who would like to hear lesser-known and different tunes, these thirty titles will provide what they are looking for.

Buy it here.

Fred “Virgil” Turgis

The Brits Are Rocking

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The Brits Are Rocking Vol. 10
Cliff Richard – Dynamite

Bear Family BCD 17729
Nine Times Out of Ten – Never Mind – My Feet Hit The Ground – Pointed Toe Shoes – Don’t Bug Me Baby – Blue Suede Shoes – Mumblin’ Mosie – I Cannot Find A True Love – Move It – Tough Enough – Got A Funny Feeling – High Class Baby – Gee Whiz It’s You – Choppin’ ‘n’ Changin’ – Livin’ Lovin’ Doll – Ready Teddy – Mean Streak – She’s Gone – What’d I Say – Apron Strings – Down The Line – Twenty Flight Rock – Dynamite – Baby I Don’t Care – Mad About You – We Say Yeah – Please Don’t Tease – Mean Woman Blues – Whole Lotta Shaking Goin’ On – The Snake And The Bookworm – Forty Days – Do You Want to Dance – My Babe – No Turning Back

Cliff Richard

Between the moment Elvis Presley lit the fuse of Rock’n’Roll and the tidal wave of Beatlemania, Cliff Richard reigned almost unchallenged over the English Rock scene. And even if his music, like his idol Elvis Presley, quickly softened to capture a wider audience, Richard’s influence on British music and that of his group, the Shadows, is immense.
This compilation covers the career of Harry Roger Webb, Richard’s real name, from his beginnings to the end of 1961. The selection focuses on the most rock-oriented tunes, and leaves aside pop material. The songs are very intelligently distributed in a non-chronological order to avoid feeling too strongly about the singer’s pop turn.
First attempt and first masterstroke with Move It. This song alone would almost be enough to make Cliff an essential artist. The song is a superb Rockabilly full of contained rage and tension, counterbalanced by Ernie Shear’s dazzling guitar. Move It is the work of Ian Samwell, originally Richard’s guitarist but relegated for the recordings to the rank of rhythm guitarist. He wrote Richard’s best songs, and let’s hope his pioneering work will one day be recognized for its value.
High-Class Baby and My Feet Hit The Ground were equally successful, both written by Samwell and recorded less than three months later. Cliff’s voice mixing the energy of Little Richard, the warmth of Elvis and the sweetness of Ricky Nelson works wonders.
The following month (November 1958) saw a significant change in Richard’s career. He enlisted the services of a new group, which would become the Shadows, with Hank Marvin and Bruce Welsh on guitars and Jet Harris on bass.

Little Lovin’ Doll is successful and pleasant but nothing more, the success once again coming from a composition by Samwell, Mean Streak, with its heady and disturbing riff.
Cliff’s first album was recorded in February 1959 in live conditions, in front of a select audience, and the atmosphere of a club was recreated in the studio. Exhausted by the intensive touring pace, Richard arrived at the sessions with laryngitis. However, to hear the energy released, you wouldn’t believe it. This compilation offers a selection of six tracks (My Babe, Down The Line, Baby I Don’t Care, Readdy Teddy, Don’t Bug Me Baby, Whole Lotta Shakin’ Goin’ On). Although most tracks are covers, Cliff’s voice and the Shadows’ musical inventiveness are enough to make the difference.
The group returned to the studio the following month. Among the tracks recorded, Bear Family selected Never Mind, another brilliant demonstration of Ian Samwell’s talent.
The following session is devoted to recording three songs by Lionel Bart. The two selected for this compilation are No Turning Back, which offers an insane bass part that fits perfectly with the singer’s voice, and Mad About You, which is much more shaky in its structure (what a strange break in the middle) and suffers from the comparison.
September saw Richard and the Shadows record a series of covers (Twenty Flight Rock, Blue Suede Shoes, Mean Woman Blues, Pointed Toe Shoes) which struggled to reach the level of the original versions. Recorded during the same sessions, Dynamite, once again written by Ian Samwell, eclipses all the other songs with its dazzling success. It is one of Richard’s masterpieces. But despite this last stroke of rock’n’roll genius, we feel the end of an era for the singer and the beginning of a new career.
It was not until the beginning of 1960 that Cliff Richard recorded original material again. In the meantime, Samwell threw in the towel, perhaps tired of being relegated to the background, forcing the Shadows to compose for their leader. However, he remains present on Gee Whiz It’s You, a rock ballad composed with Hank Marvin, perfectly served by the Shadows and the suave voice of Richard. With the help of Jet Harris, Marvin composed She’s Gone, a pretty ordinary blues and Bruce Welsh and Pete Chester wrote Please Don’t Tease, a nice and harmless twist. If the quality of the compositions declines, the vocal and musical levels remain. Finally, at the end of March, they recorded a composition by Samwell (I Cannot Find A True Love), which raised the level and put Richard and the Shadows back on the right path of Rock’n’Roll. The song is a Rockabilly gem with a Milk Cow Blues type of break. Likewise, Choppin’ n Changin’, recorded in June, returns to the heyday of Move It and Dynamite.
By comparison, the covers of Johnny Otis (Tough Enough and Mumblin’ Moise) seem very tame, and What’d I Say should be forgotten as quickly as possible. The rest of the selection follows the downward slope that has begun, however, with one last burst of brilliance, which shines all the more given its entourage, the excellent We Say Yeah.
This new volume in the series is once again perfect. It places the importance of Cliff Richard on the emerging British Rock’n’Roll scene, which his long career and ennoblement had perhaps displaced. As with the others, the disc is accompanied by a copious booklet and a detailed discography. I don’t know who the next artist will be selected for the next volume, but there is no doubt that it will be exciting.

Available here.

The Brits Are Rocking Vol.8
Vince Taylor – Brand New Cadillac

Bear Family BCD17646
Brand New Cadillac – Long Tall Sally – Rocky Road Blues – What’cha Gonna Do (Southern Love) – I Like Love – Sweet Little Sixteen – Endless Sleep – Baby Let’s Play House – Jet Black Machine – Shaking All Over – Ready Teddy – Move Over Tiger – So Glad You’re Mine – Lovin’ Up A Storm – My Babe – Right Behind You Baby – Twenty Flight Rock – Blue Jean Bop – I’ll Be Your Hero – C’mon Everybody – Don’t Leave Me Now – Mean Woman Blues – B. B. Baby (Big Blond Baby) – There’s A Whole Lot of Twistin’ Goin’ On – Love Me – Rip It Up – Have I Told You Lately That I Love You – Mimi – Peppermint Twist – Part I – Peppermint Twist – Part II – Pledging My Love – Don’t Ever Let Me Go

Vince Taylor

Vince Taylor had an undeniable charisma and the magazines knew how to exploit his half-angel, half-demon image. This same charisma, combined with a good dose of energy gave dazzling stage performances. Unfortunately, all this does not necessarily show through on his recordings.
His recording career begins with a very good Rockabilly-inspired single, the excellent Right Behind You Baby coupled with I Like Love on the B side. This one benefits from the presence of Tony Sheridan on guitar and Brian Benett (Shadows) on drums. Benett is renewed for the next session in February 59, and was joined by the excellent Joe Moretti on guitar. The result gives the dazzling Brand New Cadillac (the only composition by Vince Taylor on this compilation). This single piece would be enough to leave him a place in the pantheon of Rock’nroll. Success did not come, Taylor changed label and after Parlophone joined Palette for which he recorded another excellent single I’ll Be Your Hero with the wild Jet Black Machine on the B side. But already, we can see an evolution in the sound. After another solid single for Palette, Taylor found refuge in France and signed for Barclay. If the accompaniment always remains of quality, the inspiration seems to disintegrate and very often the listener has the impression of hearing an imitator of Gene Vincent or Eddie Cochran without the flame of genius that makes the difference. Taylor sings well, sometimes overdoes it, but too often settles for the bare minimum. The last period covered by this CD, corresponding to the year 1962, sees Taylor evolving towards Twist and a rather uninteresting pop-Rock.

The Brits Are Rocking Vol. 5
Lee Curtis & the All Stars – Let’s Stomp

Bear Family BCD17626
Boppin’ The Blues – Let’s Stomp (1st Version) – I’ve Got My Eyes On You – Jezebel – Boys – Irresistible You – Nobody But You – Memphis Tennessee – It’s Only Make Believe – A Mess Of Blues – My Baby – Sticks And Stones – Stupidity – Hello Josephine – Stand By Me – Slow Down – Shot Of Rhythm And Blues – When I Get Paid – Can’t Help Falling In Love – Let’s Stomp (Second Version) – Little Egypt – Blue Suede Shoes – One Night – Exstacy – Wooly Bully – Mohair Sam – Jezebel (Live At The Cavern) – Skinnie Minnie (Live At The Cavern) – Um Um Um Um Um

The Brits are Rocking Lee Curtis & the All Stars

The fifth volume of this excellent series sheds light on Lee Curtis (real name Peter Flannery), a minor hero of the Mersey scene. His band once featured Pete Best, who almost became a Beatle and was signed to Decca. The label that refused the Fab Four probably tried to find a band with a similar potential. Lee Curtis and his All Stars were once voted second in a music poll, just behind the Beatles, but one must admit that today, except for true amateurs, his name is almost forgotten.
There are many reasons for that: some missed opportunities from Decca, a lousy schedule and poor management. And the material was also a problem. If Curtis was a good singer, he didn’t write his own songs and thus, stuck to covers.This album gathers the best sides recorded for Decca and Star Club. There’s a good dose of danceable and uptempo numbers. Though enjoyable, they are not all that original, and the similarity of repertoire with King Size Taylor is not always in favour of Curtis. But Curtis had a magnificent and powerful voice that shone through some slower tunes. He’s perfect on Exstacy, It’s Only Make Believe, Stand By Me, Irresistable You, and Little Egypt. Even Jezebel, albeit a tad emphatic, is perfect. This song, along with Bill Haley’s Skinnie Minnie, also appears in live versions recorded at the Cavern. Both are excellent, and one can regret that more live recordings don’t exist. Lee Curtis and the All Stars were a terrific live act by all accounts. Anyway, if you’re not a real completist of the British scene of the early 60s, 29 songs might be a bit too much. But if you’re curious and open-minded, you’ll find some good tunes on this volume. As usual, the booklet is quite impressive, with a biography, press clips and plenty of photos.

The Brits Are Rocking Vol. 4
Colin Hicks – Sexy Rock

Bear Family – BCD 17582 [2020]
Giddy Up A Ding Dong – Empty Arms Blues – Wild Eyes And Tender Lips – Sexy Rock – MeanWoman Blues – Oh Boy! – Love’s Made A Fool Of You – Whole Lotta Shakin’ Goin’ On – Hanging Around – Tallahassee Lassie – Jambaylaya (On The Bayou) – Blue Moon Of Kentucky – That Little Girl Of Mine – lea lea – Robot Man – Put Me Down – Lovin’ Up A Storm – A Teenager In Love – Book Of Love – Hallelujah, I Love Her So – Brand New Cadillac – All Because Of You – Impazzivo Per te – Johnny B. Goode – Tutti Frutti – Twenty Flight Rock – Hung Up My Rock And Roll Shoes

The Brits are Rocking Colin Hicks

Here’s volume four of this excellent and exciting new series on Bear Family. This time, you have a full album dedicated to Colin Hicks covering the period from 1957 to 1961. Some of you may not know him, and to be honest, until I received this cd, I had never heard about him. Colin Hicks is none other than Tommy Steele’s little brother, who is also part of this series, but his name seems to be reduced to a footnote in British music history.
The reasons are multiple. Hicks never achieved the same degree of success as his older brother at least in England. Both looked very similar, and even sometimes their voices could sound the same. So maybe England was too small for two Hicks/Steele. And when success knocked upon his door, it was in Italy.
It has to be said; Hicks didn’t have the talent of his brother. Some of the songs recorded here are pretty average. He also lacked original material, and most of his covers are very well known. It probably didn’t allow him to create a personnal sound. And if his approach of Blue Moon of Kentucky is very original, one can forget in the minute his version of Johnny B. Goode. But the curious listener and the amateur of British Rock’n’roll will find pretty to enjoy here. If Hicks is not Steele, it doesn’t mean he’s an average singer. Far from that. He can rock like none other, and, to pursue the comparison with his older brother, he seems more free, even wilder, in his approach.
Like on many of Bear Family reissues,you’ll aso find rare tracks. Among them are Hicks debut single for Pye Nixa recorded by Joe meek in 1957, or Impazzivo Per Te that was released as a flexi disc in an Italian magazine in 1960.
This compilation is an excellent occasion to rediscover an artist that should receive more credit. Taken separately, this one is maybe not as essential as the first three volumes, but as a whole, its place is fully justified.

The Brits Are Rocking Vol. 3
King Size Taylor – Doctor Feelgood

Bear Family BCD17603 [2020]
Heeby Jeebies – All Around The World – Dr. Feelgood – She Said Yeah – Hippy Hippy Shake – Hello Josephine – Slow Down – Sweet Little Sixteen – Never In A Hundred Years – Money – Bad Boy – Sherry Baby – Whole Lot Of Lovin’ – Stupidity – Long Tall Sally – Domino Twist – Short On Love – Memphis, Tennessee – Mashed Potatoes And Hot Pastrami – Lipstick, Powder And Paint – Slippin’ And Slidin’ – Twist And Shout – Dizzy Miss Lizzy – I Can Tell – Fortune Teller – You Can’t Sit Down – I’m Late – Sad And Blue – Saw My Baby With Another Guy – Matchbox – Good Golly Miss Molly

The Brits are Rocking king size taylor

For their third volume in their series The Brits are Rocking, Bear Family decided to put the spotlight on King Size Taylor and his band the Dominoes. It’s somewhat surprising as one could expect more familiar names like Marty Wilde or Wee Willie Harris. But it’s also an excellent thing since Taylor needs to be rediscovered.
If you, like me, think that the Beatles never sounded so good than when they were five angry (and hungry) lads struggling in Hamburg, this cd is sure to please you.
This compilation covers the period 1963-1964 and contains all his recordings made for Philips, Polydor, and Ariola. It also includes four demos from 1958. Except for these four songs, the tracks were all recorded in Hamburg, Germany, in the studio or on stage.
Associated with the Beat bands of the Merseyside, King Size Taylor and the Dominoes developed a more aggressive sound than many of their counterparts and stayed true to Rock’n’roll and Rhythm’n’Blues. Unfairly they never reached commercial success in their own country.
Except for their first single, which was more pop-oriented, King Size Taylor and the Dominoes were a beautiful war machine, blasting killer rhythm’n’ blues tunes with a rocking edge one after another. Whether in the studio or on stage, they took no prisoners. Ted “Kingsize” Taylor was probably one the best British singers, but sadly remains one of the unsung heroes of the period. He had a powerful and expressive voice that was ideally suited for material by Larry Williams, Fats Domino, Little Richard, and Solomon Burke. The band was equally amazing with sharp guitar parts and for the live recordings two saxophones blowing scorching riffs and solos.
With all those qualities, why didn’t they achieve international success? Maybe they lacked a good manager to get them a good contract. Probably they were too busy in Germany to develop something ielsewhere. And perhaps the fact that they didn’t have originals didn’t help either.
Anyway, this well-deserved cd (and the 36-page booklet that comes with) is the perfect object to rediscover this artist. Maybe Taylor didn’t have originals, but I wouldn’t trade the 2 minutes and 14 seconds of his version of Short On Love (way better and meaner than Gus Backus inoffensive original version) for any of the LSD influenced stuff that their most famous counterparts later recorded.

The Brits Are Rocking Vol.2
Billy Fury – Wondrous Place

Bear Family Records – BCD17583
Gonna Type A Letter – Baby How I Cried – Comin‘ Up In The World – Wondrous Place – Don‘t Leave Me This Way – Colette – Keep Away – Running Around – Bumble Bee – Nothin‘ Shakin‘ (But The Leaves On A Tree) – My Advice – Don‘t Say It‘s Over – Unchain My Heart – Sticks And Stones – Twist Kid – Push Push – Baby Come On – What Did I Do – If I Lose You – One Kiss – Play It Cool – Sweet Little Little Sixteen – Don‘t Knock Upon My Door – That‘s Love – Don‘t Jump – Tell Me How Do You Feel – Talkin‘ In My Sleep – I‘d Never Find Another You – I‘m Moving On – It‘s You I Need – Phone Call – Turn My Back On You – Alright, Goodbye – You‘re Having The Last Dance With Me

The Brits are Rocking Billy Fury

After Tommy Steele, the second volume of this series is deservedly dedicated to Ronald Wycherley, better known as Billy Fury. I personally hold “the Sound of Fury” as one of the best pieces of Rockabilly ever recorded. Billy Fury had it all, the look, the voice, and above all, he could write his own songs (and he was good at that!). This 34-song collection focuses on Fury’s most upbeat material and avoids the hits and the well-known songs like “Halfway to Paradise” or “Maybe Tomorrow” (which is a good thing if you ask me.)
To compose a varied compilation, Bear Family chose to present the songs randomly, but for this review, we’ll take them chronologically in the order of the recording sessions.
“Gonna Type Me a Letter” was originally the b-side of Maybe Tomorrow. It’s a solid rocker, though the typewriter gimmick can be slightly annoying.
Asked about his influences, Fury answered, “I was most of all an Eddie Cochran fan. I was an Elvis Presley fan second, and then I liked Dion.” If you can, without a doubt, hear some of the latter two throughout this collection, “Don’t Knock Upon My Door” is pure Cochran.
“Colette” was obviously written with the Everly Brothers in mind. “On Baby How I Cried,” a plaintive ballad, his voice channels the best of Gene Vincent while the Vernon Girls enhance the performance with their backing vocals. “Turn My Back On You,” recorded during the same session, is a pure Rockabilly masterpiece and will appear on “The Sound of Fury.” Eight out of ten songs of that essential album are included here. From the Buddy Holly tinged “My Advice” to the bluesy “Phone Call,” those songs are worth the price of that compilation alone. They also benefit from the superb guitar work of Joe Brown. For the anecdote, Andy White, the session drummer, is best remembered for having replaced Ringo Star during the recording of “Love Me Do” (and he also married Lyn Cornell one of the Vernon Girls.) Also, since the art of the slap bass was yet to be discovered in Albion, two basses were used: one electric bass to play the notes and an acoustic to record the slap.
In June 1960, Billy Fury cut his masterpiece, Wondrous Place, an eerie ballad with sparse backing, sounding like a mix between Elvis’ “Heartbreak Hotel” and “Crawfish.” Even more provocative, listen to that breath just before he drops ‘Wondrous Place.’ Bear Family made an excellent choice by including the first version rather than over-arranged one recorded in 1963.
By comparison, “Push Push” with its semi Calypso beat seems pale while “You’re having the Last Dance With Me” adds nothing to the glory of Fury.
Penned by Gene Pitney, “Talkin’ In My Sleep” brings a little more blues, and “Comin’ Up In The World” offers a superb contrast between the singer’s voice and the screaming sax.
Backed by a Duane Eddy sounding twangy guitar and an ethereal female vocal at the right moment, “Don’t Jump” is a splendid melodramatic tune. “I’d Never Find Another You” is another highlight thanks to Billy, of course, but also to the arranger who kept it simple despite the presence of strings. Just compare to Paul Anka’s version to see how a poor arrangement can waste a good song. From the same session comes “If I Lose You,” a soulful ballad that shows the other side of Fury’s voice, the rough one.
The next pair of songs, both written by Norie Paramor, are far less successful. On “Play It Cool,” the mix between strings and Rock’n’Roll doesn’t work very well, whereas “the Twist Kid” proves that even Fury couldn’t turn lead to gold.
The Presley-esque “Running Around” finds him in better form with a song more suited to his voice. “One Kiss” sees him returning to his idol Eddie Cochran, in a laid back jazzy manner.
“On Keep Away” and “What Did I Do,” the singer is backed by the Tornadoes of “Telstar” fame. The former shows the inspiration of Elvis’ “Stuck On You.”
After a session without the Tornadoes to record Laverne Baker’s “Bumble Bee,” the band returns to record the live-in-the-studio album “We Want Billy.” Five songs are lifted from that album (Sweet Little Sixteen, Baby Come On, Sticks and Stones, Unchain My Heart, and I’m Moving On.) The singer is wild and more rhythm ‘n’ blues than ever, and the Tornadoes are excellent throughout.
“Tell Me How do You Feel,” recorded in 1963, continues with the rhythm ‘n’ blues vein with organ, sax, and a trumpet solo.
The compilation ends with “Nothing Shaking (But The Leaves On The Tree)” on which one can hear some Mersey echoes.
As usual with Bear Family, it comes with a thick 40-page booklet containing photos, informative liner notes, record covers, and detailed sessions. Highly recommended.

The Brits Are Rocking Vol. 1
Tommy Steele – Doomsday Rock

The Brits Are Rocking Tommy Steele

Bear Family BCD17581
Rock Around The Town – Giddy-Up A Ding Dong – Teenage Party (LP version) – The Trial – Tallahassee Lassie – Give! Give! Give! – Build Up – Knee Deep In The Blues – Rock With The Caveman – Take Me Back, Baby – Time To Kill – Hair-Down Hoe-Down – Swaller Tail Coat – Drunken Guitar – Kaw-Liga – Elevator Rock – Grandad’s Rock – Puts The Lightie On – On The Move – Cannibal Pot – Hollerin’ And Screamin’ – (The Girl With The) Long Black Hair – Rebel Rock – Two Eyes – Hey You – Happy Go Lucky Blues – Singing The Blues – Butterfly – Doomsday Rock – Razzle Dazzle – Come On Let’s Go – Honky Tonk Blues – Young Love – You Gotta Go

2019 saw Bear Family launching a new series called The Brits are Rocking dedicated to the British pioneers of the ’50s and 60s.
They couldn’t choose a better artist than Tommy Steele (real name Tommy Hicks) to begin this series with. If he wasn’t the best nor the most rocking, Steele was one of the first – if not the first – and he had a strong British identity to boot. Above all, unlike Tony Crombie, who was already 30 when he jumped on the Rock’n’roll bandwagon, Steele was a teenager singing for the teenagers.
Steele began his musical career by singing Hank Williams tunes and playing guitar various bands. George Martin signed him. He later recalled: “We sat with our coffee and watched this genial young man bounce on to the stage with his guitar over his pelvis, and my immediate impression was that he was a blond cardboard imitation of Elvis Presley. Tommy had a lot of energy, but he didn’t sound too great.”
Fortunately for the young lad, people at Decca saw some potential in Tommy and, following his test audition, they almost immediately signed him. Two days later, Steele was in the recording studio to cut his debut single “Rockin’ with the Caveman / Rock Around the Town.”
This 34-song/71 minute compilation album spans the years 1956 to 1960. It shows how versatile Steele was, playing styles as various as pop-tinged stuff, country and western, novelty songs, and more. But, of course, the most exciting songs, were his Rock’n’roll sides. Steele was a credible rocker, and tunes like Teenage Party, Rock With the Caveman, Doomsday Rock, Two Eyes are small classics. This album also proposes good live versions of Freddie Bell’s Giddy Up Ding Dong and Haley’s Razzle Dazzle and the weird and Link Wray sounding semi-instrumental Drunken Guitar.
At first, I was surprised that the songs were not in chronological order, but it happened to be a good idea. It avoids the problem of too many compilations, especially when they are copious like this one, to have ten solid rockin’ tracks at the beginning and, as the years pass, you find mellower material. This is not the case with this compilation, which alternates styles and paces as well as studio and live recordings.
As usual with Bear Family, it comes with a 40-page booklet richly illustrated, though, for some reason, there’s no sessionography.
This album definitely proves that the Brits, and Tommy Steele, could easily rock like their American counterparts.
Hopefully, this is the beginning of a long series.

Available at Bear Family

Bear Family V/A – Destination…

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Various Artists – Destination Health

Bear Family BCD17524
Rock Therapy – Johnny Burnette & The Rock’n’Roll Trio / Doctor, Doctor – Ben Joe Zeppa & The Hot Notes / Call A Doctor – The Crows / Achoo-Cha-Cha (Gesundheit) – The Andrews Sisters / Doctor Feelgood – Herbert Hunter / Quarantine – Dennis Bell / Asiatic – Ebe Sneezer & The Epidemics / Pills – Bo Diddley / Red Cherries – Flyod Dixon / Bop Pills – Macy Skipper / Boogie Disease – Doctor Ross / Boppin’ The Blues – Carl Perkins / Doctor, Doctor, Doctor – Joey Nepote with H.B. Barnum Orchestra / Doctor Jazz – Woody Herman & his Orchestra / Doctor In Love – Richard Allen / Rock Doc – Louis Jordan / Drinkin’ Hadacol – Little Willie Littlefield / Fever – The Knockouts / Satellite Fever – Asiatic Flu – Lonnie Miley / Tu-Ber-Cu-Lucas – Huey ‘Piano’ Smith & The Clowns / Medic (from the TV series) – Les Baxter & his Orchestra / Vitamina – Noro Morales / Operation Blues #2 – Homer ‘Zeke’ Clemons & his Texas Swingbillies / D.R. Rock – George Chisholm & The Blue Notes feat. Bert Weedon / Diagnosis Neurosis – Their Singing Bodies / PSA (Public Service Announcement) for Mental Health Association – Tab Hunter / Amnesia – The Mysterions / Psycho Serenade – Big Jay McNeely & Band with Little Sonny Warner / She Said – Hasil Adkins / Feelin’ Good – Sonny Burgess & The Pacers

bear family destination health

Another excellent thematic compilation album from Bear Family, this time centred around the subject of health in all its possible forms (and styles).There’s no better way to introduce this collection than Johnny Burnette & the Rock’n’Roll Trio’s Rock Therapy. It’s a classic that we’ve heard hundreds, if not thousands, of times, but it still sounds fresh and wild.
Next is Benn Joe Zeppa, who offers a groovy rocker with a scorching guitar solo. The next tune is from the Crows, a Harlem quintet halfway between doo-wop and rhythm and blues. The McGuire Sisters are pretty strange. On the one hand, you have the lovely harmonies of these charming girls, and on the other hand, the song features a sinister organ, all that on a Cha-cha rhythm, with a string orchestra punctuated by the girls’ sneezes. After a great rocker from Herbert Hunter, you find a poor teen pop with annoying female backing vocals by Dennis Bell. Much better is Asiatic Flu, perfectly described as a Rockabilly Novelty. Bo Diddley is, as usual, excellent, and Floyd Dixon’s tune is a piano blues in the vein of Charles Brown. Following this great song is a string of three classics: Macy Skipper’s Bob Pills, an insane tune, insane enough to be covered by the Cramps, Doctor Ross’ Boogie Disease and the immense Carl Perkins with Boppin’ the Blues. Inspired by Chuck Berry, Joey Nepote’s Doctor Doctor Doctor is good, albeit a bit messy. Totally different in style, Woody Herman delivers a swing, although a bit tame compared to Jelly Roll Morton’s version of Doctor Jazz. Also heavily orchestrated is Richard Allen’s Doctor in Love, a song recorded for the movie. Think of a British version of Frank Sinatra. Next is Louis Jordan’s Rock Doc. What can I say? Louis Jordan is a genius; that’s all you need to know. Little Willie Littlefield keeps a high level of quality. Instead of a well-known version of Fever, the fine folks at Bear Family included the Knockouts version, a doo-wop with a rocking attitude, a growling voice and a mellow saxophone. That’s why those compilations work, by mixing well-known stuff with more obscure versions.
Talking about obscure, Lonnie Milley is not the kind of Rockabilly you find on your run-of-the-mill compilation. Continuing with the unexpected, Huey Piano Smith is not featured here with the hit Rocking Pneumonia and the Boogie Woogie Flu, but its follow-up (equally excellent) from 1959: Tu-Ber-Cu-Lucas and the Sinus Blues. Les Baxter is featured here with a T.V. theme. Noro Morales brings a touch of exotism with the mambo-tinged Vitamina. It’s good, but I much prefer the hot western swing of Zeke Clemmons and his Texas Swingbillies. D.R. Rock is a bouncing Rhythm’n’Blues, played by jazzmen under the name of George Chisholm and the Blue Notes. The result is a tune filled with hot solos. Completely different are Their Singing Bodies with their pre-garage Rock. After a public service announcement from Tab Hunter (thank you Tab) back to Garage with Amnesia by the Mysterions which sounds like a psychedelic nightmarish rendition of Steel Guitar Rag. Great with a capital G. As you can imagine, Big Jay Mc Neely’s Psycho Serenade is wild and could have been easily covered by the Sonics. Hasil Adkins took the musical insanity to a whole new level that still waits to be reached today. He deserved more than anyone else his place on this compilation. Bear Family decided they couldn’t let their listeners with such madness, and Sonny Burgess’ Feelin’ Good ends this collection on a positive note.
As I said, this collection works well because Bear Familyl mixes classic numbers with more obscure gems. And in the end, there’s a bit of something for everyone.
Another good point is that the compilations in that series are all at a very friendly price.

Available here.

Mac Curtis

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Mac Curtis – Rocks

Bear Family BCD 17719 [2023]
Wake Up Rock’n Roll Rock-A-Baby – Real God Itch – What You Want – Goosebumps – Hard Hearted Girl – Little Miss Linda – That’s How Much I Love You – Sidething – Don’t You Love Me – That Ain’t Nothing But Right – Half Hearted Love – You Ain’t Treatin’ Me Right – If I Had Me a Woman – Say So – Just So You Call Me – Grandaddy’s Rockin’ – You Oughta See Grandma Rock – Party Line – Rockin’ Mother – No – Good Rockin’ Tomorrow – For Your Love – Missy Ann – You Are My Very Special Baby – The Low Road – How Long Will It Take – Good Love, Sweet Love – Been Gone a Long Time – Hey Hey Little Lady – Show Me the Money – Little Mama Have Mercy – John Lewis – Flat Top Cat (dedicated to Mac Curtis)

Mac Curtis

I can’t imagine anyone seriously interested in Rockabilly not knowing the name of Mac Curtis and how great he was. But, since the genre is still alive and well and the scene is generating new fans, it’s a mighty good idea from the venerable German label to add Mac Curtis to his flawless “Rocks” series.
The very fact of introducing the genius of Mac Curtis to a new generation would justify the existence of this compilation. But its interest goes beyond that. This collection brings together almost all the King sides (perhaps missing one or two tracks but of lesser importance). Still, it goes beyond the 50s to add recordings from different periods of his career, including the sides recorded for Rockin’ Ronny Weiser on Rollin’ Rock in the early 70s, as well as three tracks from his album released in 1998 on Vinyl Japan/Jappin’n’Rockin on which the excellent Rimshots accompanied him.

Whatever the era, Curtis remains a master of Rockabilly. His King sides are flawless and should be studied by all aspiring singers and songwriters interested in this type of music. Very few before or after him achieved this perfect balance between his rich and warm voice, the hiccups typical of Rockabilly and stripped-down instrumentation, including at times a huge double bass sound. It’s very well done on the part of Bear Family to have kept in its selection the dark and sinister The Low Road, one of Curtis’s peaks.
After working as a DJ and recording country-inspired albums (see the recent reissue on Bluelight), Mac Curtis returned to his Rockabilly roots in the early 1970s under the leadership of Ronny Weiser. The songs recorded for Rollin Rock are wilder and rawer in terms of sound but perfectly capture the energy and urgency of this music. They perfectly complement the King’s sides.
Finally, the three tunes recorded with the Rimshots conclude this selection in style. Curtis is in great form, and the Rimshots were one of the best bands on the scene at the time. As a bonus, you have a song written and performed by John Lewis of the Rimshots as a tribute to the singer.
Very intelligently, the songs are not presented in chronological order, which allows you to navigate between periods and eras while being constantly surprised.
As usual, the label has done things well, and a copious and complete booklet accompanies the disc.
If you are new to the work of Mac Curtis, this compilation is exactly what you need. If you already know him, it may also interest you because you may very well discover some gems there.

Available here.

Mac Curtis – Early In The Morning/Nashville Marimba Band

mac curtisBluelight Records – BLR 33224 2
Early In The Morning – Big Boss Man – Ain’t That A Shame – Blues Man – Baby What You Want Me To Do – Maybelline – Gulf Stream Line – Stagger Lee – I’d Run A Mile – I Got A Woman – When The Hurt Moves In – Him Or Me (What’s It Gonna Be) – Running Bear – I Fall To Pieces – Gentle On My Mind – For The Good Times – Orange Blossom Special – Spanish Eyes – Ruby Don’t Take Your Love To Town – Careless Hands – Help Me Make It Through The Night – Devil’s Dream – Pistol Packin’ Mama – She Knows All The Good Ways To Be Bad

In 1970 Mac Curtis recorded Early in the Morning, an album on which he revisited songs from the fifties with a Country edge. The songs came from the catalogues of Buddy Holly, Chuck Berry, Jerry Reed, Ray Charles, Lloyd Price, etc., with a couple of originals thrown in for good measure.
The repertoire ranged from the bluesy, albeit with steel guitar, Baby What You Want Me to Do, to the Country shuffle of When The Hurts Moves In, which would be perfect for Dale Watson, with a bit of Swamp Rock in between with Gulfstream Line. The majority of the remaining songs are on a thin line between country and Rock’n’roll, and the result is close to what Carl Perkins recorded during the same period.
The musicianship is excellent throughout, but that’s not a surprise with musicians like Tommy Allsup and Leon Rhodes on guitars, Charlie McCoy on harmonica, DJ Fontana on drums, and Curtis’s deep and rich voice beautifully serves the whole album.
The following year, Mac Curtis returned to the studio to record Mac Curtis’ Nashville Marimba band in one day. This is a surprising album, to say the least. Still, with a crew of first-rate musicians, Curtis revisits a set of Country classics in instrumental versions done in an exotica/easy-listening mood. However, it features some sparkling moments on guitar and hot fiddle parts from Johnny Gimble. It’s the kind of album you’re happy to own and play to your friends to see their reaction. You really have to hear their version of Gentle On My Mind to believe it.
Two excellent Country numbers with a Rockabilly feel, recorded in 1974, rounds up the set.
All in all, you have one excellent album, a curiosity and two hot bonus tracks. That’s more than enough to make you jump on this reissue.

mac-curtis-rollinrock
Mac Curtis – the Rollin Rock Recordings 1

Mac Curtis – the Rollin Rock Recordings 1

Part records
Big D Women – Baby Let’s Play House – Heartbreakin’ Mama – Fannie Mae – Sidetrack Mama – Holdin’ On – Good Rockin’ Tonight – Amarillo Killer – Hot Rocks – Crazy Crazy Lovin’ – Wild Wild Women – You Hurt Me – Sexy Ways – Good Rockin’ Tomorrow – Wake Up Rock’n’roll Rock-A-Baby – Hard Hearted Girl – Party Line – Turn To Me – For Your Love – Rockabilly Uprising – Been Gone A Long Time – Juice Box – Gone Out Of My Mind – Wildcat Tamer – Let’s Go

Mac Curtis is a true Rockabilly legend and in my humble opinion he recorded some of the very best sides of the genre. In 1972 he got in touch with the no-less legendary Ronnie Weiser of Rollin’ Rock and Ray Campi (the full story is explained in the very informative booklet featuring notes by Mac Curtis himself) to make some new Rockabilly recordings.
The first album to result from those sessions was Ruffabilly on which he’s backed by Campi (dobro, guitar, bass), Steve Bailey (drums) and Jimmie Lee Maslon on harmonica for one track. This is superior Rockabilly music, especially if you replace it in the period (the 70’s) with powerful slap bass and at the time with the exception of Charlie Feathers very few could come closer to the real thing than Mac Curtis. The liner notes explain why there are three Johnny Carroll tunes on that album: Campi and Curtis believed that the singer had died and wanted to pay homage to him.
The second album included here is “Good Rockin’ Tomorrow” and is equally good with Campi playing all the instruments and Billy Zoom (X) guesting on saxophone. In all you have 25 recordings that are 25 little rockabilly gems that deserve to be in anyone’s collection. They also show the importance of Mac Curtis and Rollin Rock on the European scene in the 70’s from the Teddy Boys to the burgeoning psychobilly scene.

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