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<font size=+3>Traditional Rockabilly, Hillbilly, etc - Reviews</font>



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<tr><td><font color="#000000"><a name="teens"></a>

<img src="/sleeves/ragingteens.gif" align="left" hspace="10" width="200" height="200">

<h2>Raging Teens - <i>"Self Titled"</i></h2>

This is a great record!  The Raging Teens do the near impossible by 

making a tradional rockabilly record without sounding even slightly 

pretentious, I mean, there's not a single hick-up on here.

<p>What you do get is pure, simple, straight-ahead rockabilly music.  

There's uptempo rockers like "That's How I Like It", "Hot Rod Shotgun 

Boogie #2" and "Move Move Move", and slower rockers like "Grandpaw" 

and "Cry".  One cut, "Roving Eyes", even brings back memories of pre-grunge 

Rev. Horton Heat.  The band also writes most of their own material.

<p>I guess the simple test comes when you leave the CD in the player 

for ages and don't get bored of it, and this one passes with flying 

colors.

(9/22/99)

<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/ArtistID=RAGING+TEENS/DDCN=SD-85000+70078+2"><font color="#000000">CDNOW</font></a>

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<tr><td><font color="#000000"><a name="dilks"></a>

<img src="/sleeves/dilks.gif" align="left" hspace="10" width="200" height="200">

<h2>Johnny Dilks - <i>"Acres of Heartache"</i></h2>

Johnny Dilks is probably related to Hank Williams somewhere down the 

line, he has certainly inherited something from the man.

<p>"Acres of Heartache" is the debut disc from this West Coast singer, 

but it surely won't be his last.  If you like the music of people like 

Wayne Hancock and Dale Watson, you owe it to yourself to check out this 

disc, I promise you won't be disappointed.  The disc kicks off with the 

rockabilly rocker "Comin' On Thru" and goes straight into the hillbilly 

balad "Lose That Woman Blues" that really showcases Billy Wilson's steel 

guitar.  "Close But So Far Away" will have you cryin', "The Check's 

In The Mail" will have you cuttin' a rug with your partner and "Stalin 

Kicked The Bucket" might even tempt you to start line dancing!

<p>I can't recommend this record strongly enough, buy it today, then 

check the tours page to see when Johnny and the gang are hitting your 

town and check them out in concert.

(9/22/99)

<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=483324196/pagename=/RP/CDN/FIND/album.html/ArtistID=DILKS*JOHNNY+&+VISITATION+BOYS/itemid=654149"><font color="#000000">CDNOW</font></a>

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<tr><td><font color="#000000"><a name="gocatgo"></a>

<img src="/sleeves/gocatgo.gif" align="left" hspace="10" width="200" height="200">

<h2>Go Cat Go - <i>"Let's Hear It Once Aain For..."</i></h2>

I never did get a chance to see Go Cat Go while they were still around, 

but hearing this disc sure makes me wish I had.  The late Darren Spears 

had such a great voice, totally made for rockabilly.  Musically the band 

got it's style, and much of the material, straight out of the Sun Studio 

vaults.  The strange irony is that they probably wouldn't have made a record 

like this if they still around today.  Most of the tunes are 50's standards 

like "Flying Saucers Rock 'n Roll" and "Good Rockin' Tonight" which I seem 

to remember alot of bands doing in the early nineties, when this was recorded, 

but you're less likely to find a band doing such well known material today. 

That being said, Go Cat Go totally get away with it because they do the 

material so well.  This CD is a great reminder of a band and a singer 

that are dearly missed.

(9/23/99)

<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/ArtistID=GO+CAT+GO/DDCN=SD-85000+224+2"><font color="#000000">CDNOW</font></a>

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<tr><td><font color="#000000"><a name="rip"></a>

<img src="/sleeves/ripcarson.jpg" align="left" hspace="10" width="200" height="200">

<h2>Rip Carson and the Twilight Trio - <i>"s/t"</i></h2>

This disc is custom made for the rockabilly tradionalists, it's pure fifties 

rockabilly without any of the modernizations that some artists favor.  You've 

got the slap-echo bass, twangin' lead guitar and hickupy vocals.  Most of the 

tunes are straight-ahead rockers, with "I Gotta Rock" being a stand out and 

there's a few slower cuts like "All Alone & Blue" and "Down That Line".  

"Keep Your Pain" and "Tornado Love" have a spagetti western feel.  "Full Of 

Sin" is not unlike the classic "Matchbox", "Come On Back" brings back 

memories of "Twenty Flight Rock" and "2 Timin' Woman" stomps along in a similar 

groove to Ronnie Dawson's "Knock Down Drag Out".  I think anyone who likes their rockabilly done the way it used to be will be more than happy with Rip Carson's first effort for Rollin' Rock.

(9/23/99)

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<tr><td><font color="#000000"><a name="paladins"></a>

<img src="/sleeves/paladins_slippin.gif" align="left" hspace="10" width="200" height="200">

<h2>The Paladins - <i>"Slippin' In"</i></h2>

This is the most traditional sounding disc to come out of the Paladins camp 

in quite a while.  With cuts like "The Hard Way" and "Baby DOn't Move Me" they 

obviously want to give the Derailers a run for their money.  "Slippin' In" 

starts off with a primitive beat reminiscent of Hank Mizzell's "Jungle Rock", 

and just like it's predicessor it turns into a wild rockabilly rocker.  

"Strong Boy" and "California Boogie" even sees the band digging out the 

steel guitar and "Return To Polara" could be right out of Link Wray's song 

book.  Over all, this is a great hillbilly bop CD, lots of good uptempo 

dance tunes, I like it.

(9/23/99)

<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/artistid=PALADINS/itemid=770978"><font color="#000000">CDNOW</font></a>



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<tr><td><font color="#000000"><a name="csi"></a>

<img src="/sleeves/csi.jpg" align="left" hspace="10" width="200" height="200">

<h2>CIGAR STORE INDIANS - <i>"El Baile De La Cobra"</i></h2>

I just got this fine piece of work yesterday and I must say it's great. 

I like it just as much as their first album, and it makes me wanna see 

them live even more. They've got some sax and piano on a couple tracks 

that complements the music perfectly (not overdone, and it doesn't make 

the song reliant on the extra instruments), and Ben Friedman's 

songwriting is still great. Lots of tunes about women, naturally, and a 

cool instrumental to boot. There's even a couple not-so-hidden tracks 

that are kinda like acoustic versions of two of the songs on the album. 

I highly recommend this to anyone who likes good music.

<BR><BR>

<a href="mailto:deadtemplar@hotmail.com"><font color="#000000">Dave Smith</font></A> - 10/16/98

<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/ArtistID=CIGAR+STORE+INDIANS/itemid=507689"><font color="#000000">CDNOW</font></a>

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<tr><td><font color="#000000"><a name="mack"></a>

<img src="/sleeves/mackstevens.jpg" align="left" hspace="10" width="200" height="200">

<h2>Mack Stevens - <i>"Hardcore Texas Cat Music"</i></h2>

On this CD, Stevens comes as close as we are likely to get to being a successor 

to the legendary Jack Scott.  Putting a backing vocal group to good use on 

several of the cuts helps with the illusion ("I Hate The Moon", "Hate and 

Gasoline" and "I'll Die Alone") -- although this is sure to unnerve the hardcore 

rockabillyfans a little.  Never fear, Mack also includes some of his patented 

stompers like "Rockabilly Barbeque" , "Peckerwood Rock"  and "No Good Gal".  For a 

slight change of pace, "I May Be Right But I Hope I'm Wrong" effortlessly 

takes the listener back to the days of the "Sun Sound".  Mack also includes a 

few songs leaning  precariously close to country; but, again, this is just a 

fine artist showing that there is more to him than pounding hot rockabilly. 

On the other hand, if you want a little rave in your rock, listen to "Raging 

Sea" the with volume pumped up.  From Rockin' Ronny Weiser -- nothing else needs 

to be said.

<br><br>

<a href="mailto:editor@rocknbluesnews.com"><font color="#000000">Lee Cotten</font></a>, <a target="_top" href="http://www.rocknbluesnews.com/"><font color="#000000">Rock and Blues News</font></a>.

<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/ArtistID=STEVENS*MACK/itemid=780386"><font color="#000000">CDNOW</font></a>

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<tr><td><font color="#000000"><a name="wayne1"></a>

<img src="/sleeves/hancock2.jpg" align="left" hspace="10" width="200" height="200">

<h2>WAYNE HANCOCK - <i>"That's What Daddy Wants"</i></h2>

Where Thunderstorms was a diverse mix of styles and sounds, Hancock's

latest release, That's What Daddy Wants, is more about a sweet, relentless 

swing, whether it's smoky or smokin'.  The mystique is there in spades,

and Hancock's band is every bit as fantastic as they were in '95.  Steel

guitar, a major component of Hancock's sound, is handled ably by Chris

Miller, who distinguishes the record not by burning up every track but

with sublime solos that are about taste and tone.  When the band does

stretch out and take turns in the spotlight ("Louisiana Blues"), the

results are memorable.  However, the greatness of this band is in their

dedication to the structure of the songs.  Solid is an understatement.

<P>

That's What Daddy Wants goes out with a surprise: a spy-ish cross between

garage and rockabilly called "Brand New Cadillac" that features a trombone

and a pair of trumpets doing unusual little solos before melting into a

free-form melee.  It's almost as if Hancock's saying this album focused a 

tighter spotlight than Thunderstorms did, but we can still do any damned

thing we wanna.  And you better believe they can.



<BR><BR>

(C) 1998 - DJ Johnson



<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/ArtistID=HANCOCK*WAYNE/itemid=420070"><font color="#000000">CDNOW</font></a>



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<tr><td><font color="#000000"><a name="wayne2"></a>

<img src="/sleeves/hancock1.jpg" align="left" hspace="10" width="200" height="200">

<h2>WAYNE HANCOCK - <i>"Thunderstorms & Neon Signs"</i></h2>

While the Nashville hats are alluding to honky-tonk, Wayne Hancock is 

making the real thing.  His debt to Hank Williams is obvious, but his

use of rockabilly-tinged guitar riffs and cool swing undercurrents 

puts him head and shoulders above the rest.  Hancock's 1995 debut,

Thunderstorms And Neon Signs, was released on Dejadisc.  A thoughtful

album with enough mystique for the intellectuals and plenty of swing

for the dancers, Thunderstorms placed Hancock in a corner of the country

scene occupied by few (Lyle Lovett resides there by virtue of his refusal

to conform to either Nashville camp) and, unfortunately, noticed by only

a few more.  The songs weren't all about about my baby leaving me and 

my horse dying.  The young country mainstreamers just didn't know what to 

make of lyrics rooted in rail-riding folk over music Hank would've dug.

<P>

The wandering spirit in Hancock's stories is always tempered by the strong

pull of home.  His eloquent descriptions make you long for that place,

too, despite the fact that you've never been there.  When he does sing 

about his "gal," it's not a string of tired clich�s wound around a slick

production number.  She doesn't just up and leave him a tragic figure

whining and falling in his whiskey bottle; he stands upright and says

"you want a sensitive sissy that'll hear your command, not a honky-tonk

singer with a five piece band."  Not the usual stuff, as you can see.

Re-released on Ark 21 Records, Thunderstorms And Neon Signs should be 

back in the racks and readily available.



<BR><BR>

(C) 1998 - DJ Johnson



<br><br>Buy it at <a href="http://www.cdnow.com/cgi-bin/mserver/SID=731198183/pagename=/RP/CDN/FIND/album.html/ArtistID=HANCOCK*WAYNE/itemid=486923"><font color="#000000">CDNOW</font></a>



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<tr><td><font color="#000000"><a name="gilroy"></a>

<img src="/sleeves/gilroy.jpg" align="left" hspace="10" width="200" height="200">

<h2>Nick GILROY KOMBO - <i>"Crazy Lovin' Daddy"</i></h2>

This disc contains some of 

the finest rocking music to come out of the UK in the last decade.

This is a huge boast to live up to, but the Kombo's latest release does so

with ease.

<br><br>

The Nick Gilroy Kombo is not just another identikit rockabilly band,

rehashing the same cover versions as every other bunch of wannabe

greaseballs. These guys live the rocking man's life at 130 MPH. They are

steeped in the rich traditions of rockabilly, blues, rock'n'roll, western

music. Their passion for the one true church of bop saturates this record.

<br><br>

So is it 'authentic rockabilly' I hear you ask?  

The songs themselves are certainly authentic enough; they are about

authentic emotions; real love, real hate, genuine joy, true blues. Close 

your eyes and suddenly you are there; it's spring 1957, in a hell-hot barn

just off route 66, bopping to the local anti-heroes playing their finest 

custom-pressed rockers.

<br><br>

Your heart doesn't beat, it slaps with the thunk of Nick's doghouse bass.

Your breath is inflamed with the searing heat of Boz and Malcolm's 

intricate guitar licks. Your feet twitch involuntarily to the relentless 

pounding of Roger's drums. And through it all, weaving like the silken 

kiss of a razor sharp switchblade, is Nick Gilroy's unmistakable voice. 

Listen to the lusty power of 'Gonna Make Some Love', the dark angst of 

'Come Back', the lonesome heartache of 'Silent Telephone'. Go ape to the 

just-for-the-sheer-bloody-joy-of-it, breakneck wildness of Kombo Boogie and 

Crazy Lovin' Daddy.

<br><br>

Even when the Nick Gilroy Kombo tackles other peoples' material, they make 

it their own. No dull carbon copies here, these songs are as refreshing as 

a cold glass of beer on a hot Tennessee night. To take a pop standard like 

Billy Fury's 'Don't Knock Upon My Door' and turn it into a thundering 

bopping-blues snarl is a master stroke; the first listen is likegetting a 

haymaker punch from your grandma. 

<br><br>

The previous track record of each of the Kombo-men  reads like a 

best-of-British rocking masterclass. Nick first came to our attention as 

the pulse of the Blue Rhythm Boys. Roger's work with the Bop Shack Stompers 

proved to be one of Fury records hottest sellers. Malcolm has backed just 

about every rockabilly legend going, from Ronnie Dawson to Curtis Gordon.

He has also provided the meat on many a contemporary record hop classic. It 

is no wonder that the mighty Deke Dickerson has spoken of his admiration 

for Malcolm's skill. The same can also be said for the semi-legendary Boz 

Boorer. Perhaps best known as guitarist for the hugely successful Polecats, 

he is a constant feature of the live music scene throughout the Rockin' 

planet. His skills are in demand amongst the biggest names in popular music today.

<br><br>

Bill Smoker 1999

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