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Dypsomaniaxe

Published on 17 November 202417 November 2024

Reviews

Dypsomaniaxe – One Too Many

Tombstone Records – TOMB DISCc 697 / TOMB-CD 2011
Bad Habit – Vicious Delicious – Gamblin’Debts – Spirit In You* – Mask – Dangerous Liaisons – Secret – Dirty Washing – Countess Lizzie – Demon Quiff* – Seven Deadly Sinz – Siren – Dypsomaniaxe – Doctor McBain
*CD only

Dypsomaniaxe was formed by four colorful girls (Stella on double bass, Ben on lead vocals, Sam on drums, and Angie on guitar) with impressive quiffs that would make the Klingonz green with envy (their first double bass player was their manager). They played fast, crazy, outrageous, exuberant, and fun Psychobilly—everything to seduce!
The main thing people remember about Dypsomaniaxe is that they were the first all-female Psychobilly band (and when you think about it, there weren’t many after them). That’s a fact. But this misses the main point, namely that Dypsomaniaxe was, above all, an excellent band, and it doesn’t matter whether they were men, women, or came from Mars.
Sadly, they only released one but almost perfect album during their existence.
The songs on One Too Many are often tuneful, with catchy melodies. The whole thing sometimes reminds us of a female counterpart of the Krewmen or sometimes sounds a bit like the Scum Rats (Demon Quiff). But reducing them to that would take away their personality, and that’s an understatement to say they have a strong personality. The singer plays her role perfectly, alternating between a captivating (Siren) or surly (Dangerous Liaison) voice, supported by perfectly in-place backing vocals.
The group is quite as good. Angie varies the sounds and textures, ranging from Mask’s almost acoustic Hispanic intro to the distorted sound of Dirty Washing and Spirit On You. The same goes for the rhythm section, which propels everything efficiently.
One may, and still, regret a production that is a little meager at places, but let’s not shy away from our pleasure, ‘One Too Many’ is an excellent album from start to finish, and an original one at that.
Once again, it’s too bad they have split before recording a second opus or even a live album. Their version of Bad Habit on the Live At the Big Rumble compilation eclipses many other bands on this record.
Unfortunately, Dypsomaniaxe did not arouse vocations, and it wasn’t until bands like As Diabatz arrived that we found the same explosive mixture.

The Radioactive Kid

Jimmy and the Mustangs

Published on 27 October 202427 October 2024

Reviews

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

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

Scum Boys

Published on 18 September 202418 September 2024

Reviews

Scum Boys – Vamp Attack

Rumble Records – RUMBCD008 [1991]
Coming Home – Natives Of Europe – Torro – Mystery Train – Scum Boys – Rock’N’Roll Vagabonds – Tattoo – Get A Sense – Vamp Attack – Menhir’s Rock – Josephina – Hoppela

The Scum Boys were a Franco-German group formed in the second half of the 1980s. The original lineup consisted of Markus Sansa on guitar and vocals, Marc Dirringer on double bass, and Peter Ziegenhorm on drums. They released their first 45 rpm record in 1988. The lineup changed with Damien Heitz becoming the new drummer and Frank Ziegenhorm joining on rhythm guitar. This quartet recorded “Vamp Attack” for Rumble Records in February and March 1991.
Even though “Vamp Attack” is an enjoyable album with some great moments, it sometimes struggles to impress thoroughly. The band delivers a solid dose of classic Psychobilly, from the relatively mellow “Tattoo” to the wild “Vamp Attack.” What stands out is the band’s inclination to push boundaries by incorporating songs with changing rhythms and a developed melodic aspect. The band’s best work emerges when they break free from traditional constraints. An example of this is “Mystery Train,” an original composition by the band (and not the Elvis-popularized Junior Parker cover) with a syncopated rhythm that flirts with New Wave. Additionally, The Scum Boys offer excellent instrumentals that complement the collection, such as the Spanish-tinged “Torro.”
Unfortunately, despite these qualities, the result is only partially satisfactory. The group lacks a producer, and the overall sound is somewhat weak and not always well-balanced. Furthermore, an outside perspective could have guided them, particularly in advising them to shorten certain songs that drag on, lessening their impact.

The Radioactive Kid

Francine

Published on 17 September 202417 September 2024

Reviews

Francine – Shake My Bones

My Way WAY 1203 [1989]
Shake My Bones – Sweet Lovin / Little Girl of Mine – Alley of Sorrow

Francine was formed in 1987 with Pete Salomaa on bass, Mika Jokinen on vocals and guitar, and Esa Nurminen on drums. The name of this Finnish band was inspired by the song “Francine” by ZZ Top. After recording a demo, Tude Usvalla joined the band on drums in 1989. Jari Paksuben completed the lineup when he joined Francine on rhythm guitar, and Mika switched from electric to double bass.

The band quickly gained recognition and was offered a contract by My Way Records. This led to the recording of their debut EP, which was released in the fall of 1989.

The title track is a fantastic Neo-Rockabilly song reminiscent of Stray Cats and Polecats with modern touches similar to Long Tall Texans. “Sweet Lovin’” is a softer, more melodic, and almost acoustic track with a swinging rhythm and a jazzy touch. “Little Girl Of Mine” may be less original, but the punchy double bass and jerky rhythm will please fans of the genre. The EP concludes with “Alley Of Sorrow,” a superb Jazzy Rockabilly track that can be likened to “The Best Way To Jive” by the Wild Ones and “The Midnight Special” by the Nitros.

Official website.

Fred ”Virgil” Turgis

Javes (the)

Published on 15 September 202415 September 2024

Reviews

the Javes

Javes (the) – Beat Crazy

Remmi Demmi RD24 203295 [2024]
Right Now – Nero Rising – Somebody Answer – Home No More – Guardian Angel (From Hell) – Sixteen Tons – Soldier In The Night – Where Danger Lives – T.V. Quarrel – 77 Sunset Strip – Stranger Than Paradise – Jivin’ With My Baby

After almost four decades since their excellent and noteworthy first EP, TV Quarrel, the Javes are making a triumphant return.

At first glance, we might fear seeing a group reunite after so many years, even if they have stayed active in the Rock’n’Roll scene, notably with 45 RPM. Fans are torn between the joy of reuniting with old friends and the apprehension of seeing if they have aged well and not become old dorks (just kidding…).

The doubts vanish with Right Now, the first track of this highly successful album. The sound is impactful, and the carefully crafted production excellently showcases the musicians’ work. Throughout the eight new tracks, they maintain this high level of quality. The Javes chose a brief and cohesive album that eliminates any unnecessary or filler material.
Since their debut EP, the sound has become more intense, and the guitars are more aggressive. Also, the structures evolved into more complex things and melodies. The lively Neo-Rockabilly of the mid-1980s has been replaced by a darker, sometimes menacing modern Rockabilly, as evidenced by their outstanding and highly original cover of 16 Tons. At no point does the trio attempt to make us believe that we are in 1985. While their music is influenced and even codified, The Javes aim to create music for their time. In this aspect, they can be compared to recent albums by Brian Setzer (Gotta Have The Rumble or The Devil Always Collects) or Restless, one of the group’s influences at the time. Like Setzer and Restless, the German group achieves its goal by avoiding the trap of nostalgia.

When certain groups in the rock ‘n’ roll scene seem stuck in traditional ways, it would be a shame to overlook this album. The Javes, with their innovative approach, have given the genre a new twist, keeping it relevant and lively for our times. But that’s not all – this disc offers the best of both worlds. Torsten and his two bandmates had the excellent idea of including four bonus TV Quarrel tracks.

The Javes’ homepage

Javes (the) – TV Quarrel

Razzle Dazzle Records – RAZ 811101 [1985]
TV Quarrel – 77 Sunset Strip – Stranger than Paradise – Jivin’ with my baby

The Javes were a German trio formed by Torsten Langner on guitar and vocals, Jürgen Berger on double bass and Oliver Hartmann on drums. They released this ep with four original songs in late 1985 / early 1986.

The title track is pure neo-rockabilly in the style of Restless’ first album. Very good guitar, solid double bass and drums and screams. Both 77 Sunset Strip and Stranger than Paradise border on early Psychobilly. If you want to pursue the comparison with Restless, let’s say those two tracks would be more at their place on Do You Feel rather than Why Don’t You Just Rock. Despite what I can say, don’t believe this guys were copycats, it’s just to give you an idea of the sound.

The last track is Jivin’ With My Baby which has a superb jazz feel to it with brushed snare drum and appropriate jazz chords.

Maybe the production is a bit thin at place and a fuller sound would have been better (especially when you know that they recorded some démos for Northwood later that year with Boz Boorer.) But that’s just one minor flaw (so minor you can’t even call it a flaw.)

Both Jurgen and Torsten later joined 45rpm.

Fred “Virgil” Turgis

Stray Cats

Published on 10 September 202410 September 2024

Reviews

Stray Cats, neo-Rockabilly legends, formed in 1979, by Brian Setzer on guitar and vocals, Lee Rocker on double bass and Slim Jim Phantom on drums.

Stray Cats – Runaway Boys

Arista – SCAT 1 [1980]
Runaway Boys / My One Desire

For a first attempt, the Stray Cats, with their debut single, achieve a masterstroke. Lee Rocker’s hypnotic double bass and Slim Jim Phantom’s powerful, clear beat open the track, quickly followed by Brian Setzer’s razor-sharp guitar. Dave Edmunds’ perfectly adequate production tells us we are in 1980, not 1956. The lyrics also have nothing to do with any nostalgia. The song deals with an adolescent frustration closer to Punk than to the fantasized rebellion of the 50s. The Stray Cats use the codes of their parents’ music but anchor it in their era. In this, the Stray Cats pose as a fiery response to artists like Robert Gordon, who, despite their quality, play in marked territory. That said, tradition is never far away, as proven by the B side, a perfect cover of Ricky Nelson’s My One Desire.
With the passion and recklessness of youth, the Stray Cats take Rock’n’RollRock’n’Roll and Rockabilly, a 25-year-old recipe, and take them to the next level, making this music current and relevant to the generation of Punk and New Wave.

Stray Cats – Stray Cats

Arista [1981]
Runaway boys – Fishnet stockings – Ubangi stomp – Jeanie jeanie jeanie – Storm the embassy – Rock this town – Rumble in Brighton – Stray cat strut – Crawl up and die – Double talkin baby – My one desire – Wild saxaphone

In the late ’70s, a trio of three young Rockabilly cats dug in their parents’ records collection. Without any complex and a good dose of naivety, they took 25-year-old music and made it sound fresh again (which led to a certain animosity from the purists.) Sure they liked Cochran, Vincent and Burnette, but they also grew up in New York during the heydays of Punk music.

The construction and the progression of the album itself are faultless. A-side opens with the hypnotic beat of “Runaway Boys” and ends with the rockin’ hymn “Rock This Town”. In between, two covers get the Stray Cats treatment (Warren Smith’s “Ubangi Stomp” and Cochran’s “Jeanie, Jeanie, Jeanie”) and two original songs. Of course, “Fishnet Stockings” is similar to Lew Williams’ “Bop Bop Ba Doo Bop”. That’s obvious. “Storm The Embassy” is a solid rocker but have nothing to do with rockabilly (actually Setzer played it in his previous band “The Bloodless Pharaohs” under the name “Boys Having Babies” and with different lyrics). The song is rather political and refers to the Iranian crisis and American hostages in the late ’70s. With a song so closely linked to the actuality, it didn’t allow them to perform it on stage long after 1981, which is a pity because, musically speaking, it rocks (listen to the live bootlegs issued from this period).

The B-side is more or less built on the same structure. The wild (also with a hypnotic riff) “Rumble In Brighton” opens the show. Depending on the pressing, one can hear Setzer yell “Ein, Swei, Drei, Vier” to open the tune, but you have to listen closely.

The origins of “Stray Cat Strut”, which became their signature song, were subject to questions. Of course, it’s the same chord progression as “Hit The Road Jack” and some advanced “Icky Poo”, an instrumental by the Nomads or “Lonely Travelin’” by Lonesome Lee as possible sources. But these are somewhat obscure songs, especially in the late ’70s, and it neglects the fact that Setzer grew up in New York and, as we said, was a Punk fan in his youth. That’s why I believe that the origin of Stray Cat Strut is to be found in Richard Hell’s Blank Generation (a band that often had as a support act the Bloodless Pharaohs). Listen to the guitar solo from Robert Quine and the “Woo-Woo” in the middle. It’s all here. Anyway, the band put enough of them to make it a great number and one of the highlights of their shows.

“Crawl Up And Die” is a variation on Bill Allen and the Back Beats’ “Please Gimme Something” and shows another side of Setzer’s voice, the torrid one. The covers on this side are Ricky Nelson’s “My One Desire”, Vincent’s Double Talkin’ Baby and Roy Montrell’s “Mellow Saxophone” renamed here “Wild Saxophone.” Slim Jim Phantom provides a solid beat and Gary Barnacle (who played with the Clash) on sax. Brilliant.

Stray Cats – You Don’t Believe Me

Arista – SCAT 4
You Don’t Believe Me / Cross That Bridge

After their debut album, the Stray Cats added a solid dose of Blues in their Rockabilly, resulting in Gonna Ball, an excellent but too often underrated album. You Don’t Believe Me, the A-side, comes from the album. It’s an Elmore James-inspired blues with a lot of slide guitar. The band played it on stage briefly, sometimes with Setzer playing a Stratocaster.The flip-side didn’t appear on the album (at least the European version). It features a harmonica and has the same groove as Jimmy Reed’s Shame Shame Shame, then evolves for the guitar solo to something close to Wicked Whisky, which probably explains why the band didn’t include it on the album.

Stray Cats – Down Town (Cross That Bridge)

Arista – 7RS-22
Down Town (Cross That Bridge) / Stray Cat Strut

This single is a Japanese-only release featuring “Cross That Bridge” on side A. Interestingly, the song is named “Down Town” on the cover and “What’s Going Down” on the label. The song was used as background music for a TV commercial promoting the Toyota Celica in Japan, which explains why it was released as a single. In Europe, the song was only a B-side. The sleeve includes the lyrics.
A special limited version was also released with the car on the cover and was given for free to customers at Toyota shops. This version is highly sought after by Stray Cats collectors. This version is very sought after by Stray Cats collectors.

Stray Cats – Little Miss Prissy

Arista – SCAT 5 [1981]
Little Miss Prissy / Sweet Love On My Mind – Something Else

Little Miss Prissy comes from Gonna Ball and shows the influence of Chuck Berry. The B-side features two unissued live tracks recorded in November 14th, 1981 in Newcastle: Johnny Burnette’s Sweet Love On My Mind and Eddie Cochran’s Something Else; both played in a wild and punkish manner.

Stray Cats – Gonna Ball

Arista [1981]
Baby Blue Eyes – Little Miss Prissy – Wasn’t That – Good Cryin’ Shame – (She’ll Stay) Just One More Day – You Don’t Believe Me – Gonna Ball – Wicked Whisky – Rev It Up and Go – Lonely Summer Nights – Crazy Mixed Up Kid

Following the massive success of their debut album, at least in Europe, the Stray Cats took a break in their heavy touring schedule. In August 81, they flew to Air Recording Studios in Montserrat in the East Indies to record their second album. This time the band took over the production duties with the help of sound engineer Heinz Hoven. The presence of prestigious guests augmented the trio. It included veteran Lee Allen (Little Richard, Fats Domino, Smiley Lewis and later The Blasters) on sax and Ian Stewart (Rolling Stones) on the keyboard. Helped by that prestigious line-up, they played a bluesier form of rock’n’roll rather than the modern Rockabilly they were known for.

Half of the album consists of blues or blues-influenced songs. “Rev It Up and Go” and, to a lesser extent “, Little Miss Prissy” are obviously influenced by the great Chuck Berry. “You Don’t Believe Me” shows the influence of Elmore James with Setzer on slide-guitar. “Wasn’t That Good” proves that they are more than able to deliver a good jump blues (which they’ll later confirm with “Look At That Cadillac” and Lucky Charms”) and “Cryin’ Shame” features a fine harmonica part. Only “(She’ll Stay Just) One More Day” sung by Lee Rocker sounds weak and artificial. Though it features a nice organ part, the song is not great and Lee at that time wasn’t the singer he is nowadays.

Of course, there’s also some solid Rockabilly with Johnny Burnette’s Baby Blue Eyes and the raw Gonna Ball (actually a remake of the Wheels’ Let’s Have A Ball). The album also features one instrumental titled “Wicked Whisky”, which also cut as a vocal track under the name “Cross That Bridge” as a b-side and on Japan pressings. “Lonely Summer Night” proves that Setzer can top the greatest ballads of the ’50s, and “Crazy Mixed-up Kids” ends this album at a frantic pace.

This blues orientation confused the fans, and the “Gonna Ball” was only a semi-success compared to “Stray Cats”.

Stray Cats – Built For Speed

EMI [1982]
Rock This Town – Built For Speed – Rev It Up & Go – Stray Cat Strut – Little Miss Prissy – Rumble In Brighton – Runaway Boys – Lonely Summer Nights – Double Talkin’ Baby – You Don’t Believe Me – Jeannie, Jeannie, Jeannie – Baby Blue Eyes

By 1982, the Stray Cats finally achieved success in their own country which led EMI to release this compilation featuring 6 tracks from their debut album, five from Gonna Ball and one new song, the title track, a great country-rockabilly.

Stray Cats – Look at that Cadillac

Look At That Cadillac / Lucky Charm [1983]
Arista 106-271

This is the 7″ that started it all for me. I still clearly remember the day I bought it with my older brother back in 1983 (I was 10, man, how time flies). The A-side is a classic jump blues with saxes and piano. Good song, if not very original, with Setzer talking about how hard he needs a Cadillac. “Look At That Cadillac” pleased me for sure, but the real jewel was on the B side. “Lucky Charm (oh Wee Suzie)” was – and still is – one of the best songs the Stray Cats ever wrote. Setzer’s voice is perfect. It looks like the curse of the great guitar player, as sometimes no one pays attention to their vocals. The song was probably recorded during the same session, as the saxes and piano are still here. This one is more a swingin’/rockin’ tune with every musician taking a hot solo each, especially a very inspired boogie-woogie part by Geraint Watkins (Crazy Cavan, Shakin Pyramids, and many others) and at the end, a short slap bass break. And at this moment I thought, “Woah! That’s what I want to hear!!!”. And now, more than 20 years later, I still listen to this single with great joy. I guess this is the power of the 45.

Stray Cats – Rant n’ Rave

Arista / EMI [1983]
Rebels Rules – Too Hip Gotta Go – Look At That Cadillac – Something’s Wrong With My Radio – 18 Miles To Memphis – Sexy & 17 – Dig Dirty Doggie – I Won’t Stand In Your Way – Hot Rod Gang – How Long Do You Wanna Live Anyway

Following the success of Built For Speed, the Stray Cats reunited with Welshman Dave Edmunds in 1983 to record “Rant & Rave” in London. They opted to return to what made their success and went back to their rockabilly roots (with an exception or two) after the blues-inspired “Gonna Ball”.

“Rebels Rule” is an excellent choice to start the selection. With a strong Diddley Beat, Slim Jim playing like a madman on his toms, and Setzer yelling, “Rock’n’Roll is never too loud!” the pace is quickly set. The Stray Cats are back!

The next one, “Too Hip Gotta Go”, is a good rockabilly and shows Setzer ability on the strings. A fun one to play (see the time Setzer takes to explain it on his instructional video), it’ll remain in their live setlist for a very long time. “Look At That Cadillac” is a fine jump blues with juicy saxes and piano. Though it’s more a “sax” tune, Setzer plays an exciting rhythmic pattern in the background.
“Sexy & 17” opens the b-side. It’s a good song with a solid solo, and it’ll make its niche in the charts. Inspired by Roy hall’s Diggin’, the Boogie, “Dig Dirty Doggie”, is one of their most rockabilly effort with huge slap bass.

The style changes with “I Won’t Stand In Your Way”, a delicious ballad with a doo-wop arrangement. The band is joined by the vocal group 14 Karat Soul for this song. An acapella version exists too.

“Hot Rod Gang” was undoubtedly written with Gene Vincent in mind and features a fine Cliff Gallup influenced solo. The album ends with “How Long You Wanna Live Anyway?” the closest thing to Psychobilly the Stray Cats ever played with heavy guitar and pounding drums.

With ten songs and not a weak track, the Stray Cats star rose high. Sadly one year after the release of Rant & Rave, the band disbanded, and though they made different come-back with some solid songs and albums, this is the end of the golden age of the Stray Cats.

Stray Cats – Rock Therapy

EMI [1986]
Rock Therapy – Reckless – Race With The Devil – Looking For Someone To Love – I Wanna Cry – I’m A Rocker – Beautiful Delilah – One Hand Loose – Broken Man – Change Of Heart

By 1986 each member of The Stray Cats was deeply involved in his solo stuff. Setzer had released his first solo album, “The Knife Feels Like Justice”, in a John Cougar vein at the beginning of the year. Lee and Jim teamed with David Bowie’s guitarist Earl Slick in Phantom, Rocker and Slick for two albums if far to be exceptional contain some interesting things if you’re curious or nostalgic of the ’80s (and dig crazy hairdos). But the three of them were tied to EMI with, according to Setzer, a bad contract. The best way to solve it was to record this album.

So from the start, it wasn’t really a “new” Stray Cats album. One can suppose that they logically wanted to keep their best material for their solo career. This also explains why half of the songs are covers. But this album has its good moment, and even a half-successful Stray Cats album is better than 90% of the rest. The five covers are very well done, the best being Gene Vincent’s Race With The Devil. But it’s true that, except for Charlie Feathers’ One Hand Loose, the band is in a well-known territory with Johnny Burnette, Buddy Holly, Gene Vincent and Chuck Berry (the trio often played “Beautiful Delilah” on stage around 1982).

Things are a bit different when it comes to the band’s songs. Setzer’s own “Reckless” shows the influence of his solo stuff and announces with an advance of 5 years how the Stray Cats would sound on Let’s go Faster. “Broken Man” is far better with its banjo. Setzer had already toyed with the banjo on stage, playing tunes like “Foggy Mountain Breakdown”, which can be heard in the solo part. Phantom and Rocker provide “I Wanna Cry”, sung by Lee, that owes more to their solo stuff than the Stray Cats. And when I listen to the guitar solo (a crappy heavy metal mush), I wouldn’t swear that Setzer plays on it but blame Earl Slick for it. Finally, the three join forces to write “I’m A Rocker”. Nothing original here, just a solid rocker with a strong train rhythm and two wild guitar solos, but that’s enough. “Change Of Heart” is different from what the Stray Cats ever released, more pop, but eventually very pleasant. After this session, they returned to their respective solo career but quickly reformed the Stray Cats, this time for good, in late 1988.

Stray Cats – Bring It Back Again

EMI 12MT 62 [1989]
Bring It Back Again – Runaway Boys (live) – I Fought The Law

“Bring It Back Again” was co-written with Jonnie Barnett (real name Jonathan Barnett Kaye – 1946-2002). Jonnie Barnett was a singer and songwriter who began his career as a solo guitarist opening for Cheech and Chong, Frank Zappa, Eric Burdon of The Animals, Ronnie Milsap, Dion, Tom Rush, Hank Williams Jr. and others. For the last 18 years of his life, he became a well-known songwriter on the Nashville music scene. He wrote songs for Etta James, Johnny Adams, Dobie Gray, Clay Walker, Hank Williams Jr., Eric Burdon, Irma Thomas, Dan Penn and many more.

The B-side features a live version of Runaway Boys (recorded at the Ritz on October 18, 1988.) and a studio version of I Fought the Law. According to some early promo sheets, I Fought the Law was considered for the album (Blast Off) but didn’t make the final list. This version, produced by Dave Edmunds, is far superior to the slicker one recorded a couple of years later at Virgin Convent Studios in Los Angeles for “Original Cool”.

“Bring It Back Again” was performed live during the 1989 tour, the 2004 reunion tour, some dates in 2007 and during the 2008 farewell tour (and this time Lee sang it lead).

Lee Rocker also performs this one during his live shows.

The single peaked at #35 in the US Rock charts and #64 in the UK.

Stray Cats – Gina

EMI USA – MT 67 [1989]
Gina – Two Of A Kind – Stray Cat Strut (live)

Though it seems written explicitly for the Stray Cats by the Paine Brothers (who wrote several songs for the Rockats), this song had a long journey before ending on the band’s fifth album.
Then, three years later, in 1984, Josie Cotton recorded it for her second album, “From the Hip”, also produced by Bobby and Larson Paine. Eventually, the Stray Cats finally covered it in 1989 for “Blast Off” and slightly adapted the lyrics. They accentuated the Buddy Holly feel with Slim Jim adding a tom to his drumkit to emulate a Jerry Allison pattern.It remained a favourite of their live set, sometimes performed acoustically.

The B-side is one of the Stray Cats hidden gems. It’s a superb rocking ballad and proves that the band’s B-sides are often superior to the others’ A-side. The first EMI promo sheets show it was considered to be included on “Blast Off”, though it was later dropped, maybe because it was too similar to Nine Lives.

The maxi version also featured a live cut of Stray Cat Strut, recorded at the Ritz in October 1988, and a poster.

Stray Cats – Blast Off

EMI [1989]
Blast off – Gina – Everybody needs rock n roll – Gene and Eddie – Rockabilly rules – Bring it back again – Slip slip slippin in – Rockabilly world – Rockin’ all over the place – Nine lives

In 1988, after respective solo careers not entirely convincing – to say the least – Setzer, Phantom, and Rocker reunited and returned to what they do the best: rockabilly. Even the fourth Stray Cat (like George Martin could be the fifth Beatle) Dave Edmunds was back in the producer’s seat. Slim Jim Phantom said, “It’s probably our most rockabilly effort”, and he’s right. Rockabilly with a modern edge and a 90’s sound, but the backbone is here. They cover Eddie Bond’s “Slip, Slip Slippin’ In”, and half of the songs borrow from 50’s rockabilly tunes. “Gina” is a Buddy Holly influenced song with Phantom adding a floor tom to get the Jerry Allison pattern. “Blast Off” sounds like “Jungle Rock” on speed but has good enough lyrics to be original. “Everybody Needs Rock’n’ Roll” bears more than one common point with Glen Glenn’s Everybody’s Movin. And of course, “Gene And Eddie”, Setzer’s tribute to these two pioneers, is very effective if not very original (the song is made of various verses from Vincent and Cochran songs). “Rockabilly Rules, Ok” – the title says it all – and “Rockabilly World” reinforce the rockabilly orientation. You also have a clear attempt to chart with the more commercial “Bring It Back Again” lifted as a potential single (sadly, it’ll fail to climb very high). The best track is “Nine Lives”, a jazzy variation around “Stray Cats Strut”, with clever lyrics, outstanding guitar solo and vocal from Setzer. Indeed this album marks a turning point in Setzer’s vocal. He seems more confident in his talent as a singer, and his voice has gone more profound and more mature. This album may suffer the lack of powerful hits (like Stray Cats Strut, Rock This Town or Runaway Boys) and originality (four songs with the word Rock in the title might sound a bit cliché).

Nevertheless, it’s a solid rock album, very well produced and most of all, the listener can feel the fun and the joy to play together. The gigs to promote this one were good, energetic and fans had big hopes for the next album. Alas, a big disappointment was waiting for them.

Stray Cats – Let’s Go faster

Liberation records D30519 (AUS) [1990]
Toshiba-EMI TOCP 6520 (JAP)
Cross of love – Town without pity – Shotgun baby – Struck by lighting twice – Thing about you- Baby don’t drag me down – Tight black leather – Give it to me – Let’s go faster – Keep on running – Runaway train – Gonna be your rock (Japan only)

“We wanted to try something new” is what Setzer said in 1991 about this album. Probably disillusioned by the lack of success of “Blast Off”, the Stray Cats hired producer Nile Rodgers (Chic, David Bowie, Madonna…). On the paper, this association sounded quite weird. In reality, it was even worse. At best, the result sounds like Setzer solo stuff (and some songs come from his solo period: Cross Of Love, Thing About You), and at worse, you have bad and already out of fashion 80’s new wave. Very little can be saved from this wreck: “Let’s Go Faster” (nothing original but a solid rock song with a riff ala Eddie Cochran), “Give It To Me”, another one written with Buddy Holly in mind and on the contemporary side “Keep On Running”. The remaining songs are mostly weak, and the production is weaker. Looking for a modern (and a chart appealing) sound, the band has lost its identity and specificity. The result is the absence of the slap bass (replaced by an electric bass), a key element of their sound the same way the Gretsch and the stand-up snare are. The band was probably disappointed by the result and issued “Let’s go Faster” only in Japan and Australia. Later a bootleg album appeared with the demos. The lame songs stayed lame, but at least the good ones weren’t wasted by the production.

The Japanese edition has a bonus track called “Gonna Be Your Rock”, which is, in my own opinion, in a good place for the title of “Worst Stray Cats song ever”.

Stray Cats – Struck By Lightning

Liberation Records – K10340 [1991]
Struck By Lightning / Give It To Me

This 1991 single was released in Australia only. Struck By Lightning is a heavy rocker, with a threatening riff, maybe closer to Setzer’s solo stuff than the Stray Cats, but that remains a solid song. The B-side is Give It To Me, a lighthearted love song, that sounds like a modern version of Buddy Holly. Both songs were played by the trio during its 1990-1991 tours. One can find on Youtube an amazing live version of Struck By Lightning in Tokyo and of course Give It To Me was captured on video for Rock Tokyo.

Stray Cats – Choo Choo Hot Fish

Pump Records – 50286 [1992]
Elvis On Velvet – Cry Baby – Please Don’t Touch – Sleepwalk – Lust’n’Love – Cross Of Love – Beautiful Blues – Can’t Go Back To Memphis – Jade Idol – My Heart Is A Liar – Let’s Go Faster – Mystery Train

“Choo Choo Hot Fish” can be seen as the successful version of “Let’s Go Faster”. It is innovative yet still with a feet in the tradition and is their most ambitious effort to date. It also sees the return of Dave Edmunds behind the glass.

The opening track is representative of that mood, pumping sound, modern drums mixed with rockabilly elements for a tribute to Elvis. Next is “Cry Baby”, a non retro melodic rockabilly tune. It is an instant Stray Cats classic and has that timeless sound that makes the trio so special. And with Edmunds on second guitar and on duet vocal it reminds the good old days of “The Race Is On”.

Johnny Kidd’s Please Don’t Touch rocks like hell in Setzer and Rocker setlist in their respective solo careers. Santo and Johnny’s “Sleepwalk” appears here for the first time, long before the orchestra and the Grammy Award. Though I grew rapidly tired of the heavy orchestra version, this one still sounds fresh today.

Both “Lust’n’Love” and “Can’t Go Back To Memphis” harden the sound with heavy guitar and Jim hittin’ the drums as hard as he can. “Lust’n’ Love” keeps the backbone of rockabilly while “Can’t Go Back…” is not that far from ZZ Top and it’s very interesting to listen to this album today and compare it with Setzer’s most recent albums (“Nitro Burnin’ Funny Daddy” and “13”). Many elements were already presents 15 years earlier. In the same vein is “Cross of Love”. I suppose that Setzer saw a lot of potential in this one as he recorded it twice before this album (once on “Let’s Go Faster” and once during his first solo stint between 86-88).

The best song to appear on “Choo Choo Hot Fish” is “Beautiful Blues” co-written with Larson Paine. It’s a splendid jazzy song with rich gipsy chords, astounding solo and superb brushwork from Slim Jim. Don’t be fooled by the apparent simplicity of his drumkit this guy can really play. “Jade Idol” proves it too. This is a stunning atmospheric instrumental that would fit a James Bond movie to perfection. My definition for this kind of tune is “Music to drink Martini with…”. “My Heart Is A Liar” is a fine acoustic ballad in the vein of Chris Isaak with once again a rich assortment of percussion. The last two numbers are solid rockers.

A new version of “Let’s Go Faster” far better and richer than the previous one (courtesy of Dave Edmunds and his good sound) and a “Hey we have 5 minutes left in the studio how about doing a Elvis song?” version of Mystery Train. They clearly recorded this one live and it perfectly captures the feel and the excitement of the band. It also features a yodel part from Mr Setzer. Funny to see an album opening on Elvis On Velvet and ending on Mystery Train.

Sadly, “Choo Choo Hot Fish failed to reach a large audience.

Stray Cats – Original Cool

Toshiba [1993]
Somethin’ Else – Oh Boy – 20 Flight Rock – I Fought The Law – Lonesome Tears – Your True Love – Be-Bop-A-Lula – Blue Jean Bop – Can’t Help Falling In Love – Flying Saucers Rock ‘n Roll – Train Kept A Rollin’ – Stood Up – Let It Rock – Trying To Get To You – Chet Ditty (Hidden Charms)

The Stray Cats last studio album was a bit of a disappointment. Of course, Setzer gives some of his best vocal performances (listen to Ricky Nelson’s Stood Up), and the band is on top form (with Jeffrey Baxter guesting on steel guitar). Even the production, though a bit slick, is not that bad. But why, at this point of their career, release an all cover album, especially of songs that one has heard a zillion times. This incredible band deserved a better career-ending than this “not-good-nor-bad” album.

Stray Cats – Live From Europe

Surfdog Records 44045 to 44059 [2004]

Neo-rockabilly kings, the Stray Cats produced some mighty fine records but were mainly known for their wild and furious Rockabilly live shows. Strangely, they never issued an official live album, letting the door open to a bunch of bootleggers. When they reformed in summer 2004 for a European tour, the Stray Cats must have thought that they wouldn’t let bootleggers make money on their back this time. The result is here, 17 gigs and 15 CDs. Don’t look for booklets, photos of the show etc. The covers design is the same for all, except the colour. The sound is not top quality, they manufactured them very quickly, and they didn’t take time to produce them. I know many bootlegs that sound better than that. So depending on the records, you can’t hear the drums, have too much bass etc. Also, why didn’t they include the whole show on the cd’s (only 17 songs, no more, no less)? This is the first question one will ask. But the answer seems evident when you realize that the songs not on Paris CD are on the Bruxelles one, and so on… It really looks like an economical choice as they know that many fans will buy a maximum number of records to have all the songs.

On the other hand, it’s good to hear tunes the Stray Cats rarely performed live (18 Miles to Memphis, Rev it up and Go), a few covers never played on albums (Unchained Melody, in french for Paris; That’s All Right, Blue Moon Of Kentucky celebrating the 50 years of rock’n’roll; Red Hot). But I think these records concern primarily those who attended the shows. But if you weren’t there and want to buy one, I’d recommend the second part of the tour as the band is getting better and better as the tour progresses. I suppose they used the first shows as rehearsals (too bad that I went to Paris, the opening show).

Stray Cats – 20\20

Arista – 74321131172
Runaway Boys – Rock This Town – Can’t Hurry Love – Rumble In Brighton – Stray Cat Strut – Double Talkin’ Baby – Cross That Bridge – Baby Blue Eyes – Built For Speed – (She’s) Sexy + 17 – Lookin’ Better Every Beer – Cruisin’ – Lucky Charm (Ooh Wee Suzy) – I Won’t Stand In Your Way (a cappella) – Look At That Cadillac – Rebels Rule – Looking Out My Backdoor- Drink That Bottle Down -Sweet Love On My Mind -Something Else

20/20 is probably one of the best (if not the best) Stray Cats compilation or best-of ever released. Not only it contains the well-known and best songs from the first three albums (the Arista years) but what makes the difference with the other releases is that it also contains the b-sides and some rarities, most of them being unavailable on cd before.

It includes covers of Creedence Clearwater Revival, the Supremes, Gene Vincent but also originals like the excellent jump blues “Lucky Charm” (b-side of Look At That Cadilac), the a Cappella version of “I Won’t Stand In Your Way”, the country-tinged ballad “Looking Better Every Beer”, and “Built For Speed” the original that gave its name to the compilation album gathering Stray Cats and Gonna Ball for the American market.

Stray Cats – 40

Surfdog / Mascot M75895
Cat Fight (Over A Dog Like Me) – Rock It Off – I’ve Got Love If You Want It – Cry Danger – I Attract Trouble – Three Time’s A Charm – That’s Messed Up – When Nothing’s Going Right – Desperado – Mean Pickin’ Mama – I’ll Be Looking Out For You – Devil Train – Cry Baby (Live) (Bonus Track – Deluxe CD only) – Double Talkin’ Baby (Live) (Bonus Track – Deluxe CD only)

The first three Stray Cats albums blew me away. Maybe Gonna Ball had some fillers but these initial trilogy was perfect. After that, and the 1984 split, their albums were either good (Blast Off, Choo Choo Hot Fish thanks to the Edmunds touch), forgettable (Original Cool, Rock Therapy) or almost plain bad (Let’s Go Faster.)

However, on stage, they were still one of the best rockin’ band on the planet. So when the trio announced that they would record a brand new album full of original material, though I tried not to be too excited, the teenager inside me was smiling from one ear to another.

The name of Peter Collins to produce the forthcoming album surprised me. Even if he produced Setzer’s Dirty Boogie and Rockabilly Riot, Peter Collins was notorious for his work with Bon Jovi, Rush and Nick Kershaw to name but three. Nothing to make me feel that he was the ideal guy to replace Dave Edmunds. Most of all he was the producer who sabotaged the Stargazers’ Ain’t Nobody But Here but us Chickens.
The cover design also came like a warning. Here came guys who didn’t release anything for 25 years and to celebrate that they used the laziest design and ugliest cover possible. Hum…

I carefully changed my mind little by little and came to the conclusion that I would be happy with a basic Rockabilly album.
Then Cat Fight the first song was released. Nothing too original. A rock’n’roll song like you’ve heard a thousand times before. At that moment I was kinda resigned, this is not gonna be great, maybe good, at least average. But both Rock It Off, a rip off of Eddie Cochran’s My Way and Cry Danger a recycling of the riff of Aztec on Setzer’s debut solo album almost sealed the fate of that album for me: don’t expect anything.

I finally received the album and my fears were soon confirmed. It’s a shame that a band that returns with a new record after such a long hiatus didn’t put more work in it. The compositions are at best average (Mean Pickin’ Mama which is at least a Rockabilly number) but most of the time the term ‘lazy’ pops to mind. From the boogie blues riff of the aptly named That’s messed up that you’ve heard a zillion times to Three Time’s A Charm which is nothing but a variation of Setzer’s Hot Rod Girl, or I’ve Got Love that borrows its intro to Ubangi Stomp and its melody to You’re Humbuggin’ Me (Lefty Frizzell, Fabulous Thunderbirds…) and Desperado an instrumental which is a carbon copy of the Shadows’ Apache, it’s hard to believe Setzer when he says in mumerous interviews that he started writing these songs one year ago. Actually many songs sound like an embarassing caricature of Setzer’s Live Nude Guitar or Let’s Go Faster when trio tries to venture into unfamiliar territories (I Attract Trouble with – what a surprise – a quote of Pipeline).

It’s kinda weird to have Lee Rocker say “We are the best band that has ever played this music.” and find so few Rockabilly (even with a wide definition of it) on ‘40’.

And the production doesn’t help either. The drums sound buried and muddy and the fans of Lee Rocker will be surprised to find barely no slap on that album.
A couple of years ago I regretted that the Stray Cats ended their recording career with the uninspired Original Cool, but listening to this poorly written and badly produced effort, it was not that bad, after all.

PS – Don’t expect the so called “deluxe” version (two live tracks, two stickers, two coasters and a postcard) to save things.

Stray Cats – Rocked This Town From LA To London

Surfdog records 85968-2 [2020]
Cat Fight (Over a Dog Like Me) – Runaway Boys – Too Hip, Gotta Go -Double Talkin’ Baby -Three Time’s a Charm – Stray Cat Strut -Mean Pickin’ Mama -Gene & Eddie -Cry Baby -I Won’t Stand in Your Way -Cannonball Rag – Misirlou – When Nothing’s Going Right – (She’s) Sexy + 17 -Bring It Back Again -My One Desire -Lust ‘n’ Love -Fishnet Stockings -Rock This Town -Rock It Off -Built for Speed -Rumble in Brighton

Despite what its title may suggest, “Rocked this town, from LA to London” is not a testimony of the Stray Cats’ latest international tour to promote 40. Setzer Rocker and Phantom recorded it in various US cities (but not in LA), and some of the songs were even recorded during the 2018 tour.

That said, it’s an excellent live album. It’s very well recorded, and the band is in fine form (way better than the 2004 tour). Moreover, it features five songs from 40. Not only they sound way better than the poorly produced studio versions, but it adds some diversity to the usual setlists of the band that turned to be quite repetitive over the years. It also features two instrumentals (Cannonball Rag and Misirlou.) Besides these two tunes and Double Talkin’ Baby and My One Desire on the vinyl version, the set focuses on the band’s songs rather than covers, thus allowing some place for a song like Lust’ n’Love. I was a bit sad to find no songs from Gonna Ball but with only 23 songs, I suppose that you have to made choices.
After all these years, the Stray Cats, especially on stage, still remain the kings of modern Rockabilly, and this live album is here to confirm that.

Fred “Virgil” Turgis

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