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The Speedos

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the Speedos - It's Only Rock'n'roll
the Speedos – It’s Only Rock’n’roll

The Speedos – It’s Only Rock’n’Roll

PART 647.001 [2010]
Ghostriders ~ Believe me ~ Remember then ~ From the bottom of my heart ~ Sandy ~ You’re driving me crazy ~ Cotton fields ~ I’m not a juvenile delinquent ~ A Zippe Di Zoom ~ Fly me to the moon ~ Come go with me ~ Lovely night ~ Rag Mop ~ I just want to know ~ Sh’Boom ~ West Virginia (Country Roads) ~ The Diary

Part has the good idea to reissue the Speedos catalog. First released in 1989, It’s Only Rock’n’roll was until this reissue only available on vinyl and I suppose long out of print.
This quartet could be described as the German cousins of the British Keytones.
They play doo-wop harmonies with a bit of jive on a rockabilly background. There’s even some hillbilly with their uptempo cover of Cotton Fields.
Like numerous debut album, it’s not flawless, but the few minor imperfections are well compensated by the freshness of their approach.
The repertoire goes from Frankie Lymon (I’m Not A Juvenile Delinquent) to the Del-Vikings (Come Go With Me) or Frank Sinatra (Fly Me To The Moon) with a couple of originals too written by lead singer/guitarist Olaf Prinz. On a couple of songs the line-up (guitar / doublebass / drums / saxophone) is augmented by Götz Alsmann on piano for a fuller sound.
As an added bonus,the band’s debut ep from 1987 – featuring a self penned song (I Just Want To Know) and three covers: Sh-Boom, John Denver’s Take Me Home Country Roads and a rockabilly-doo-wop rendition of Neil Sedaka’s The Diary – is included. Recommended.

 

the Speedos - A Dreamin' Life
the Speedos – A Dreamin’ Life

The Speedos – A Dreamin’ Life

King Hat [1992] – reissue Part [2010]
I call it bop – Duke of earl – Jungle book – I adore you – Quiet whiskey – Believe me – A dreamin´life – Dance town – Caledonia – Blackboard jungle – Forever – Hey you

A Dreamin’ Life is the band’s second album, and to get to the point, their best. It takes more or less the same ingredients than their debut but both the sound and the band are better.
It kicks off with “I Call It Bop” that wouldn’t be out of place on the Stargazers’ debut album. Next is the accapella doo-wop “Duke Of Earl” with top vocals and harmonies. They also do great justice to Louis Prima’s Jungle Book. “I Adore You” is a sweet ballad with a bluesy edge. The pace changes with Wynonie Harris’ Quiet Whiskey, a solid jiver also treated in a Stargazers style. Believe Me features Gotz Allssman and is a re-recording of a song from their first album in a more accomplished version. The title track is a soft rockabilly. “Caldonia” is the sole weak point of the album, but it’s quickly forgotten with Blackboard Jungle a great rock’n’roll. “Forever” is another great moment in the Keytones style while Hey You concludes the album on an uptempo note.

Fred “Virgil” Turgis

speedos
The Speedos – Olaf Prinz, Bernd Eltze, Volker Naves & Frank Johland

Pat Capocci

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Pat Capocci

Pat Capocci
Pat Capocci

Pat Capocci is nothing else than one of the best thing to happen to modern rockabilly in the recent years. “Modern” is probably not the right word to describe the sound of this rockin’ cat. He sounds as if he came right from the fifties wether he plays rockabilly, blues, hillbilly bop.
And most of all this guy has the whole package that would make more than one envious: he has the look, the songs, the sound, the voice and he’s more than able when it comes to deliver a hot (or a smooth) guitar solo.
All this reasons made that Capocci arrived on the top list of the guys we wanted to interview.

by Fred “Virgil” Turgis

Can you introduce yourself?
Pat Capocci: Hi my name is Pat Capocci, Im a guitarist/singer from Australia.
I’ve grown up my whole life in the Maitland/Newcastle area,kinda in between the country and the coast,but now I’m unfortunatly living in Sydney,its great for gigs as there’s so much more on but it’s so fast, busy and has no soul compared to home

In the liner notes of Steppin’ Out you’re writing that your Dad took you to gigs when you were young. What kind of importance did he have in your discover of rockin’ music?
Pat Capocci: Dad and mum have always been really suportive of anything I do musically, when I was a teenager and into punk rock he kinda pointed me towards the bands I should listen to and then when I started getting into the rockin scene he took to me to see bands in pubs (mainly blues bands) when I was underage,he had a great vinyl collection of early Chicago blues and I guess thats really were the obsesion started to grow
One thing he always made sure was that I remained open minded about all music styles, listen to it and learn something from it rather than just critisize it push it aside,and I guess that’s still with me today and reflects in my influences and my playing

What kind of stuff did you start with? I mean, did you start by listening to modern bands then move backward or did the pioneers led you to the current scene?
Pat Capocci: I gues as far as Rockin/Roots music concerned I’ve always mixed it up, I started with Carl Perkins, Merle Travis, Deke Dickerson, Bob Wills, Little Walter, Hank Williams, Jimmie Rogers (Chicago one), Joe Maphis, Johnny Guitar Watson, Charlie Christian, Jimmie Vaughn and Big Sandy,the list goes on but I guess these fellas are the main guys I lernt/stole from!haha

When did you pick up the guitar? Were you influenced by a guitar slinger in particular?
Pat Capocci: I would have been around 6/7 I think? Dad played a bit and there was always one lying around the house, I was a very curious kid,I had to know what was goin on! haha
But round that age it was pretty much dad picking his folk blues tunes that got me exited.
From 16 on Dave Biller, Junior Watson, TK Smith, Jimmie Vaughn, Kid Ramos and Dangerous Dan were my go to guys

Tell us about your early experiences… What were the first bands you’ve played with?
Pat Capocci: My first serious atempt playing in bands was in high school, I was around 13ish,we had a 1977 inspired punk band,we did a heap of buzzcocks,the clash,the vibrators,all the good English stuff,I was still listening to dads records during this time but
It would have been two years after when I met Ezra Lee,he was 13 and I was 15,we’d seen each other round Mailtland and I managed to track his number down,I called him up and we were jamin the nxt day and pretty indeprable for the next few years after
Ezzys dad played bass in a local legendary band Johnny Greens Blues Cowboys,we were at every gig that was close by and always got asked up to do a few tunes,thinkin back I dont know how good we would have sounded,two young fellas thinkin they know everything about playing a shuffle!haha
That band and the pub we grew up in (The Grand Junction Hotel) gave us good music and life education.
My first real fultime band I joined up with when i was 16 were called The Torpedos,dad took me to see em one Saturday night,the next week I tried out for the guitar spot and that Saturday was my first gig!
They played everything,Rockabilly,Jump Blues,Hillbilly Bop,Blues,Country,Swamp Pop,Jazz,pretty much all the great styles in roots music,we played everywere,pubs,clubs,partys,on the street,wedings pretty much anywere that would have us,it was a good grounding to learn alot of styles at a young age because your brains like a little sponge soaking it all up
I was with the Torpedos for about two years,and they were a good two years,i met heaps of great players,traveled a bit,learned alot about music,the busniess side of it,life,it was good times
Before I went out on my own i tried to set a goal of being able to Travis pick and sing at the same time,I kinda had a direction I wanted to go in and figured if I couldn’t do that I’d be up the creek without a paddle!
That was when I was 18/19 and amongst all the other bands I’m in the solo line up is still the main band we regularly play with

Your debut album “Steppin’ Out” shows a wide variety of rockin’ style with hard hitting rockabilly, Sun sounding Rockabilly, western swing/hillbilly bop influenced stuff, honky tonk… Is this something you deliberately did, as some kind of “visiting card”?
Pat Capocci: That’s a good way to put it Fred!yer exactly,that was pretty much the idea,and that we were big fans of “The Graeme Thomas” sound,we weren’t sure if we’d ever get a chance to record there again,and Graeme is a master of all styles so we set out to try everything


Recording Press Tone Rockabilly 4 with Rusty Pinto

One very good thing on that album is that you penned your own songs.
Was it important for you to release your own material?
Pat Capocci: Defantly Fred,it’s something that Dingo (Presstone Label Owner) has always pushed us to do,his reasoning was that why re record something that’s been done to death by other bands,try and create something new and exiting
Everyone we’ve really dug has written there own stuff so it was just a natural progresion to do the same I think

I remember discovering Preston records in the 80’s with the compilation album “Aussiebilly” on Nervous Records and it was quite a shock especially at a period when most band were more neo-rockabilly sounding.
How do you feel about being associated to such a legendary label/studio?
Pat Capocci: Aussiebillys a great comp! It was defanatly a dream come true to record at Preston,all our favorite Aussie bands made there recordings there, I still remember the first song we ever recorded there and hearing it playback the first time,it was nuts,a very sureal experience!
Graeme Thomas is a genius when it comes to nailing a sound,his music and studio knowlege is spot on!
And now Dingos taken the next step by rely pushing the label into the international market

Preston Rockabilly vol.2, saw you playing guitar for Ezra Lee and Danny & the Cosmic Tremors – both great – in addition to your own songs. How do you approach the fact of playing for other singers. Do you try to vary sounds or use different “tricks”?
Pat Capocci: I think it’s always important when playing with anyone to be a team player,fit in with what’s already goin on,listen to what’s happening and play accordingly
I have my own opinions as to how the guitar should sound for certin styles and usually stick with that unless the singer wants something different,but as for tricks,I think having your chops down in a lot of different styles is key,that way you have unlimited options at the ready

What other bands do you play with?
Pat Capocci: At the moment there’s a few i’m in,there’s my band,Danny And The Cosmic Tremmors,Twilight Rythem Boys,Rusty Pinto Combo,Kieron McDonald,Scotty Baker and a new two piece western swing/rnb/country/Jazz outfit we’ve been doin called Two Timmin Playboys,and that’s been alot of fun!!

Talking about guitar, you cite the great TK Smith as one of your favorite player. I believe that you met him at this year’s Rockabilly Rave. I can suppose that your discussion centered around guitars…
Pat Capocci: I did meet TK which was great, i also got a lesson of him,and that’s opened up a whole new world just from that 1hr lesson
We did talk a bit about guitars also a bit about surfboards,alot people wouldn’t know but he shaped a heap of boards for his label in the 90s,I’ve surfed my whole life and were both into early/mid 60s designs,he’s a true craftsman in every sence of the word

Was this Rave your first time in Europe ? How were the reactions?
Pat Capocci: No,we came over for Screamin in Spain last year,that was our very first time in Europe,I think we went down well at the Rave?we sold most of the merch we brought over,and got some nice comments of the folks,we defantly had a good time,it’s was sad having to leave and come back home to reality!haha

“Delinquent Beat”, your second long play, is slightly heavier in term of sound. One can definitely hear the influences of James Burton and Roy Buchanan when both of them played for Dale Hawkins and there’s even a bit of Deke Dickerson on the guitar too…
Pat Capocci: Yer defantly,the plan was rather than try and cover all bases like “Stepping Out” have a more uniformed style and stick with it the whole record,and the fellas you mentioned defantly influenced that

We’ve talked guitar, but what about the singers and the songwriters you like?
Pat Capocci: I do talk about guitar a bit to much!haha,for modern singer/songwriters I really dig Charlie Thompson, Don Cavali, Joey Simone, Rusty Pinto, Lynette Morgan, Charlie Hightone, The Horton Bros, Sage Guyton and Axel Praefcke and the out of originals I dig Merle Travis, Willie Dixon, Gene O Quinn, Jimmie Rogers, Carl Perkins…the list goes on!haha

Recently you were featured in Marie-Claire. A word about that? Is Rockabilly in Australia that big ?
Pat Capocci: A friend of ours contacted us to see if we’d be interested in doin a photo shoot with the magazine,they were doin a fashion shoot that had absolutely nothing to do with the Rockin scene but wanted central figures from the local scene,strange?but we figured why not,let’s see what the trendy kids are up to.
I think the “look” has defantly become very popular in the trendy circles in Sydney,it’s good in the way that the “look” might turn these folks who wouldn’t usually know anything about the scene onto the music/culture,an it’s been great for me because all the Levis/Lee outlets in town have had heaps of sales and I’ve scored big time!haha
Rockabilly in Australia is no were as big as it is in Europe,however there’s some great crossovers with all the underground cultures comin to the gigs latley

What are your projects ? What are you working on at the moment?
Pat Capocci: At the moment I’m trying to put in at least 3/4 hrs of practice a day,I do the band stuff were playin that week for about 1hr and try to put the other time towards scales and improvising
As far as recording goes,were gunna do a new Lp with Rusty Pinto in December and we’ll be doin a new 45 at that time aswell
There’s some plans to do some recording in states but I don’t want to say anything yet as it’s not %100 locked in and I don’t want to jinx myself!haha
Other than that were starting to plan another European tour for around July/Aug,and we can’t wait!

One last word you’d like to add…
Pat Capocci: Were really looking foward to coming back to Europe,we had such a great time this year,if anyone out there wants us for a club/pub/festival/weding/funeral we’d love to play!haha

We also keep our website updated with new photos,news and merchandise at www.patcapocci.com.au

Jinx Jones

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Jinx jones

Jinx Jones - Rumble & Twang
Jinx Jones – Rumble & Twang

Jinx Jones – Rumble & Twang

JJ06CD
Flat Getting’ It – Either Way I Lose – I’m Coming Home – Swedish Pastry – Border of Right and Wrong – The Messiah Will Come Again – Baja – Mr Right Now – Double Talk Baby – Street Shark – Penetration – Flat Getting’ It 2 – Cherry Pink & Apple Blossom White
It looks like I’m the last one here to discover Jinx Jones talent, and I still wonder why I haven’t noticed him earlier. This guy oozes talent and musical intelligence from every inch of his skin and has the honest and versatile approach I like so much. This album features a couple of solid instrumentals. The opening number is a strong slice of neo-rockabilly (the kind of thing Brian Setzer could have written in his better days). A steel guitar guests on Barney Kessel’s jazz standard “Swedish Pastry” which gives a Speedy West and Jimmie Bryant flavour. He also covers The Messiah Is Gone from Roy Buchanan’s first album, an artist he backed in the 80’s describing the experience as “the most eye-opening and life changing”. In fact Jones explores the whole spectrum of American music with two surf instrumental (Baja and Penetration) with tons of reverb and makes incursions into Jump and Jive territories with sax (Street Shark”), country boogie (Flat Gettin’ It Part 2) with brilliant acoustic guitar work and as a bonus Jones has included a bossa nova coming from the catalog of Perez Prado.
If his main thing is the guitar, he certainly doesn’t have to be ashamed by his vocal tunes. These are powerful rockabillies like “Either Way I Loose” a Mystery Train type of song with drums shuffle. He also delivers a muscled version of Johnny Horton’s I’m Coming Home with piano.
If you like versatility, rockin’ guitar (under all its forms) or just good music grab a copy of this one.

 

Jinx Jones - Live Twang In Finland
Jinx Jones – Live Twang In Finland

Jinx Jones – Live Twang In Finland

Home Braend
Double Talk Baby – You Can’t Kill Me Cause I’m Already Dead – Honey Hush – Penetration – Mr Right Now – I Need A Good Girl Bad – Tear It Up – Honky Tonk Playgirl – Jack The Ripper – Either Way I Lose – Rock Billy Boogie – The Messiah Will Come Again
As its title indicates, this album has been recorded live in Finland with Los Fabulitos (Henry Valanne on drums and Ari Sjoblom on bass) and is released on a Finish label too. It’s a good mix between instrumentals and songs, straight rockabilly, more neo stuff, surf and blues. Jones wrote or co-wrote four tunes completed by good covers (with no less than three from the Johnny Burnette catalog). Though being a honest singer, as prove his wild rendition of Honey Hush or Mr Right Now, Jones’ real talent lays in his guitar (and most of all in his hands).From the surf classic “Penetration” to Link Wray’s “Jack The Ripper” and Jones’ tour de force on “The Messiah Will Come Again” (Roy Buchanan), it’s a cascade of notes and sounds. The rhythm section makes a solid anchor for his somewhat exhuberant style but Jones lets them room to express themselves and you’ll find a couple of slap bass and drums solos. The whole thing is very energetic and makes you feel they’ve all been recorded during an encore, if you see what I mean.

Jinx Jones - Rip and Run
Jinx Jones – Rip and Run

Jinx Jones – Rip & Run

Home Braend [2010]
On Parole And Out Of Control – Never Live It Down – Doghouse – How High The Moon – Time To Have A Good Time 1 – Rip and Run – Hot Rod Heartbreaker – No Beer In Heaven – Vibro Exotica – Redneck Barbie – What Makes You Think I’m Lonesome – Prairie Dig Daddy – Time To Have A Good Time 2 – Roma’s Song.

“Rip And Run” is the latest (and best) album from California’s guitar ace Jinx Jones recorded with Joe Kyle on bass, Jimmy Sage (Lee Rocker band) on drums, Caroline Dahl on piano and David Phillips on steel. It’s a solid offering mixing different style of rocking music with elements of blues and country (isn’t the definition of Rock’n’roll?). It’s led from start to finish by Jones’guitar and his 30 fingers (that’s the only way I can explain his dexterity). He mostly plays on Telecaster and Grestch, and maybe a Jazzmaster which is a proof of good taste. It kicks off with “On Parole And Out Of Control” that has a strong Reverend Horton Heat feel in it (think “Big Red Rocket Of Love“). It’s also a great showcase of Jones guitar play. The swingin’ “Never Live It Down” slows down the pace, I just regret that the piano doesn’t take a chorus on this one. “Doghouse” is a fine cowboy ballad with a solid Bakersfield styled guitar solo. If you still doubt of Jones’ virtuosity, “How High The Moon” is here to reminds you that this guy plays in the same league than Brian Setzer or Danny Gatton. “Time To Have A Good Time” is a fine neo-rockabilly tune separated in two parts (roughly one for the lyrics and the other one for the solos, like Creedence’s Suzy-Q), it also could have been the title of the album. It’s instrumental time again with “Rip & Run” that sounds like a cross between Ennio Morricone and the Ventures. “Hot Rod Heartbreaker” is a solid rocker with a Chuck Berry flair. Back to country music with “No Beer In Heaven” (what a title!) a sped up hillbilly number. Starting like Sleepwalk, “Vibro Exotica” is an instrumental that slips toward blues in the middle. The mistake would be to reduce Jinx Jones to a guitar player. He is quite a good singer and he can write pretty good songs too (he wrote all the numbers of this album but two) with witty lyrics like “Redneck Barbie” an excellent modern rockabilly. I really enjoyed the Honky Tonk sound of “What Makes You Think I’m So Lonesome“. The steel and the guitar duet on “Prairie Dog Daddy“, a jumpin’ instrumental, halfway between Little Charlie Baty and Leon Rhodes and Buddy Emmons. “Roma’s song” closes the album with another slice of solid guitar that shows the influence of Roy Buchanan.
If you’re a guitar geek, a fan of the Reverend Horton Heat, Brian Setzer and Danny Gatton, or if you simply like good music (with plenty of guitar), do yourself a favor and grab a copy of this one.
Available here.

Jinx Jones - Twang Tastic!
Jinx Jones – Twang Tastic!

Jinx Jones – Twang-Tastic!

Vibro Sound Records [2015]

A new album by Jinx Jones is always the guarantee of solid musicianship – not only because he’s a guitar ace, I guess we all agree with that, but the musicians that play with him are also top notch – very good songwriting and a wide array of styles. Twang-Tastic! makes no exception to the rule.
Metalflake Sky opens the set. This powerful instrumental mixes shredding with surf guitar for great effect. What I like with Jones is the fact that his instros are always well constructed, with a progression and a structure, and are not just a bunch of riffs tied together to show his skills.
Nothing Left to Burn is modern rockabilly at its best, with doo-wop backing vocals and saxes.
Ruin My Bad Reputation is one of the top tracks of the album. I easily imagine Jim Heath (the Reverend Horton Heat) thinking “Why didn’t I write it?“. Powerful, melodic, and perfectly sung. If on the previous albums Jones sounded more like a guitar player who sings, he shows equal skills now. Play loud!
Wham-Bam Boogie is not the most original track of the album but it delivers a solid jump blues with a swingin’ beat which is always nice.
Benny Goodman’s Flying Home is the first of the two covers of Twang-Tastic! and another tour de force for the man who mixes rockabilly guitar with be-bop. Hey Mr Setzer how about a duet with that guy?
If Midnight Train reminds of Johnny Burnette this is not because it’s a cover of the song of the same name  but this fast neo-rockabilly has the same power as Honey Hush or Train kept-A-Rollin.
It’s country and western time (with a bit of swing) with Better Off Gone that features two solid steel guitar solos played by David Phillips.
The spirit of Eddie Cochran floats over Beat Crazy Baby a simple but effective Rock’n’roll.
If the producers of James Bond were smart, they’d ask Jinx Jones to write the title theme for their next movie. Love Don’t Live Here No More has that exact 60’s feel with a touch of blues in the solo.
Jinx Guitar Boogie is another instrumental. Imagine Carl Perkins in the early 60’s to give you an idea of the sound (what’s more he quotes Carl Perkins’ Say When for my great pleasure).
Both High and Dry and Too Many Chicks are hot rockabilly and the set ends with the cover of the Theme from Thunderball.
Highly recommended.

Jinx jones
Jinx Jones

Red and the Pepperpot Boys

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Red & the pepperpot Boys
Red & the pepperpot Boys

Red and the Pepperpot Boys 

Rock-A-Bye Honey [1998]
Tomahawk Records- CD011743
Rock-A-Bye Honey – Cabin In The Hills – Crazy Little Mama – Just Tell Me Lies – The Color Of Her Eyes – Heart Like A Wheel – Go! Go! Go! – Used ToBe – Walk A Mile – Please Don’t Break My Heart – High Time – Drink! Drink! Drink! – Pin-Up Peggy – Midnight Cruise

If you dig the kind of bands one can find on Vinylux (Flea Bops, Go Cat Go, Boom Boom Cats), don’t look no further, this record is for you. In fact Red and the Pepperpot Boys can be seen as an early incarnation of the Flea Bops as they share the same singer (Ronnie Joyner) and lead guitarist (Preston LeBeau). And to pursue the Vinylux connection the drums (a light brushed snare) are played by Bill Hull, guitar player of Go Cat Go. Chris Bosch completes the line-up on string bass. If you’re not too thrilled by wild and desperate rockabilly and prefer it more like Sam Phillips defined it at Sun, “Rock-A-Bye Honey” is made for you. The sound is mostly acoustic with just a slight electrification on the lead guitar just like they did it in the fifties. It’s a safe bet to say that if you like early Buddy Holly, Johnny Cash, Johnny Horton, Carl Perkins and of course Elvis’ Sun sides you’ll love this platter. Ronnie Joyner is a superb songwriter (13 of the 14 songs are originals) who can craft little classics, and icing on the cake he has the perfect voice to sing them. Issued in 1998, this album really needs to be rediscovered.

Fred “Virgil” Turgis

The Ringlets Trio

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The Ringlets Trio - For Daily Use
The Ringlets Trio – For Daily Use

The Ringlets Trio – For Daily Use

Part Records, PART-CD 657.001 [2003]
Who’s That Girl – Love Bug Crawl – Straight Ahead – Mobile Alabama – Come On Kitty – Angelina – This Heart Of Mine – I’m Coming Home – 2 Tone Shoes – Do The Bop – My Only One – Why Did You Leave Me – Top Of The World – I Need Her So – Baby Take Me Back – Break Some Rules

After a long hiatus (nearly 10 years) the Ringlets Trio (Gunnar Fick, Lead Vocals & Upright Bass – Ulrich van der Schoor, Backing Vocals & Guitar and Christof Woller, Drums & Percussion) returns with a more traditional sounding album featuring some very good songs ranging from hillbilly bop with steel guitar (Straight Ahead and Top of the World) to Latin influenced tune like Angelina with plenty of rockin’ in between.
After “Brand New Beat” that saw them going a bit too far away from the “Ringlets sound” and “Rockabilly Favorite” that wasn’t really an album, it’s fine to see them return in fine form to something closer, but more modern and with expanded influences, to what the band used to play. To compare what the band accomplished listen to “Why did you leave me” on this album and the earlier version that appeared on “Be Aware”.

The Ringlets Trio - Rockabilly Favorites
The Ringlets Trio – Rockabilly Favorites

The Ringlets Trio – Rockabilly Favorites

Rumble – RUMBCD032  [1996]
Your Baby Blue Eyes –  I’m Sittin’ On The Top Of The World – Mambo Rock – Who Slapped John? – Route 66 – Lonesome Train – Race With The Devil – Twenty Flight Rock – Right Behind You Baby –  Baby Let’s Play House – Rock Therapy – That’s Right – Rain – Caldonia

The title says it all. Fourteen rockabilly classics played by the Ringlets Trio. If some are pleasant and even good (Lonesome Train, Right Behind You) others, especially the slowest numbers, are just average, especially the vocals that is not always in tune.
Far from being essential.

The Ringlets Trio - Brand New Beat
The Ringlets Trio – Brand New Beat

The Ringlets Trio – Brand New Beat

Rumble – RUMBCD032  [1994]
Honky Tonk Blues – Talk To Me Like The Rain – Sugar Bee – Fell Damn Low – Give Me All Your Lovin’ – Hey Girl – Drifting – In Your Arms – Bullfrog Blues – Crazy Legs  – She’s Fine – Homeless

“Brand new beat”; it’s written on it, so if you think you’ll find on this platter the jivin’-doo-wop-neo-rockabilly that you used to expect from the Ringlets Trio you’re bound to be disapointed. The band changed their style with a fuller sound, a heavy production, pounding drums, and guest instruments (accordion, piano, organ, lap steel…). They remain true to roots music but with a definitive modern approach not far from the Blasters ranging from electrified country to rockin’ blues with zydeco in between. For example their cover of Hank Williams’ Honky Tonk Blues sounds more like Dwight Yoakam than the Lovesick Blues Boy.
Very different from the “old” Ringlets trio but quite good.

The Ringlets Trio - Rocks/Big Apple Jive
The Ringlets Trio – Rocks/Big Apple Jive

The Ringlets Trio – Rocks/Big Apple Jive

Rumble 003
Down Town Girl ~ 6-5 Jive ~ Burnin’ Baby ~ Bad Dreams ~ The Only Way ~ Shake Your Moneymaker ~ House Is Rockin’ ~ Don’t Stay Gone Long ~ Flyin’ Saucers Rock ‘n’ Roll ~ She’s The One ~ Latch On ~ Rock ‘n’ Roll Jump ‘n’ Jive ~ Big Apple Jive ~ My Only One ~ London ~ Blood On Her Fingers ~ Train ~ Cover Girl ~ I Can’t Go On ~ Don’t Waste Your Time ~ Crazy Legs ~ Stranger In Town.

This cd of the Ringlets Trio gathers the first and the third albums recorded by this German band respectively in 1988 and 1990.
Big Apple Jive, the first one, is included as a bonus in the second part of the record (tracks 13 to 22). It contains its dose of uptempo neo-rockabilly with slap bass to the fore (Train) and clean electric guitar. They mix it with jive/doo-wop material reminiscent of the Keytones (Cover Girl), a bit of country music (My Only One) and some jazzy-rockabilly (Stranger In Town). Sadly the vocals are not always in tune and it shows its limits especially on songs that need tight vocal arrangements.
Recorded nearly three years later, Rocks is a far better effort on many levels. The guitar sound is richer and Gunnar Fick, still more than able on double bass, feels more confident when he sings. The self penned songs are also more original. The Ringlets Trio added a good dose of blues (Shake Your Money Maker, the house is Rockin) and some songs benefit of the presence of Gotz Alsmann on piano.
All in all a far superior album.

The Ringlets Trio - Be Aware
The Ringlets Trio – Be Aware

The Ringlets Trio – Be Aware

Cuppamore Records ‎– CUPPAMORE 11 [1989]

Why Did You Leave Me – Doll Face – What Love Can Do  – I Need Her So – Pink Roses –  Grey Cat Strut – Give Me The Chance – Today, Tomorrow, Forever  – What About You –  Standin’ At The Outside – 2 Hearts, 2 Kisses – To Loose A Love

A far better album than the first one, the band (Hartmut Oderbein, drums – Jens Pinkernell, guitar and Gunna Fick, lead Vocals, double Bass) is tight (though there remains some flaws in the vocals) and deliver some solid neo-rockabilly somewhere between Restless and the Keytones. And there’s still that crazy double bass that is the band’s strongest point.
All in all despite some minor flaws an good album, that reflects what the scene sounded like back in the mid/late eighties.

 

R-2471221-1314337968The Ringlets Trio – Big Apple Jive

Ringlets Records [1987]
Big Apple Jive ~ My Only One ~ London ~ Blood On Her Fingers ~ Train ~ Cover Girl ~ I Can’t Go On ~ Don’t Waste Your Time ~ Crazy Legs ~ Stranger In Town.

Debut album recorded in September in 1987 and self released by the band. Later reissued as a bonus on their third album (see the review for more details).

Fred “Virgil” Turgis

 

See also Blue Velvet anf the Honky Tonk Pounders, featuring Gunnar Fick on guitar.

The Blue Rhythm Boys

Published on

Blue Rhythm Boys - At Last (wild records)
Blue Rhythm Boys – At Last (wild records)

Blue Rhythm Boys - At Last (Big Beat)
Blue Rhythm Boys – At Last (Big Beat)

The Blue Rhythm Boys – At Last

Big Beat CD WIK 105 {1992}
Wild Records {2010}
That’s The Stuff You Gotta Watch – I’ll Go Crazy – Person To Person – I’m Walkin’ – It Isn’t Right – Cajun Love Affair – Trace Of You – Crazy Mixed Up World – Ride ‘N’ Roll – Babe’s Comin’ Home – Mother Earth – I’ll Try – Hoochie Coochie Man – Come On Back – Wang Dang Doodle – Breathless – Blue Rhythm Boogie – Go Ahead On – Catfish

Wild records has the good idea to reissue this now hard to find jewel, first released in 1992 on Ace / Big Beat.

“At Last“, seldom an album had a so perfectly suited title. This 19 songs album (15 on the 10” vinyl) fulfilled a wait of almost 10 years. Recorded live in one hectic 10 hour session it finally shows the Rhythms’ on a long distance and it was worth the wait.
The line-up has changed a bit since the EP. Ashley Kingman (Red Hot’n’Blue, Rockin’ Rocket 88 and now Big Sandy And His Fly Rite Boys) joined Ansell and Carlisle on second guitar while Matt Jackson (a gifted guitarist too) was on drums and Nick Gillroy on bass. They took advantage of this fuller line-up to delve into a more rhythm and blues/Chicago blues repertoire with songs by Willie Dixon, Fats Domino, Howlin Wolf, James Brown, Memphis Slim and Little Walter. They are often close to the originals (Hoochie Coochie Man, Wand Dang Doodle) while sometimes playing them in a rockin’ blues way (“The Stuff You Gotta Watch”). Conway Twitty’s I’ll Try is turned into a blues with pumping piano and soulful vocal from Ansell and a scorching guitar solo that make this song one of my favorite (if you’re interested). The frantic covers of Tommy Cassell’s Go Ahead On and Jerry Lee’s Breathless are here to remember us they started as a rockabilly band as do Ansell’s own “Come On Back” with another wild solo from Jim Carlisle (what a guitarist!). Another fave of mine is Cajun Love Affair with harp and some French lyrics to add the Louisiana flavor.If you like good rockin’ blues with a touch of rockabilly and soul here and there, put your hand on this one. All killer, no filler !

Available at Wild Records.
Fred “Virgil” Turgis

Blue Rhythm Boys - Northwood
Blue Rhythm Boys – Northwood

The Blue Rhythm Boys – Northwood ep

Northwood Records.-NWEP 101
Rollin & Tumblin/My Happiness/That don’t move me /Nobody but you

In the world, there are some enigmas which remain unexplained and others which find sometimes their resolution. But while waiting for this moment of “light”, the men think hard fantasise and seek placebos. For a long time the Elvis “My Happiness” version, the first recording of the future King for the Sun label remained a mystery, an “all the dreams” object for wild imagination of the whole wide world rockers. Was it possible to sense an already germinated hillbilly cat magic in this title? Even some suspicious people wondering whether this legendary Graal really existed until it was finally discovered and published for the first time ever.
But before this magic moment, a blue EP enabled us to have an idea of what this song was supposed to sound by a young Elvis. This mono recording Ep released back in the early eighties by the no longer alive british label Northwood had on his cover written in some large black capital letters framed by musical ranges what seems to be the name of the band : “The Blue Rhythm Boys”. But inside of that modest blue cover there was four tracks of pure rockabilly blues dynamite which included a presleyan “My Happiness” cover
Paul Ansell, the singer, for whom it was the first band, gives us an idea with his inhabited voice of what one dreamed being Elvis interpretation of that Betty Peterson and Borney Bergantine song. It was like holding in your hands the real one copy Sun single and being Indiana Jones listening to that relic of the past!!! It was for my part the first time that I heard a “so much fifties sounding” combo. The other tracks were “Rollin & Tumblin” (Muddy Waters), That don’t move me (Carl Perkins) and Nobody But You (Little Walter) and are real killers played by some of the finest british musicians of that era (Jim Carlisle – slide guitar, Allen Thow – bass and Jeff Tuck – drums). If you haven’t already lived that experiment and even if we all know today the Elvis “My Happiness” cover, it’s never too late to listen to what has become a rockabilly milestone for many rockers around the world.

David “Long Tall” Phisel

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