Billy Fury Decca EP DFE 6597

Side 1

Margo

Don't Knock Upon My Door

Side 2

Maybe Tomorrow

Gonna Type a Letter

 Back when Billy pulled the strings on his releases on the Decca label, and we still had the 'Sound of Fury' 10 inch album waiting to be recorded

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Robert Gordon Live 1978

ROBERT GORDON LIVE
CAPITOL THEATRE NEW JERSEY 30^th DECEMBER 1978

ROCKABILLY BOOGIE

LOVE MY BABY

I JUST FOUND OUT

IT’S ONLY MAKE BELIEVE

ALL BY MYSELF

FIRE

THE WAY I WALK

BLUE CHRISTMAS

TWENTY FLIGHT ROCK

RED HOT

LONESOME TRAIN

MYSTERY TRAIN

ROCKABILLY BOOGIE

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Robert Gordon - Vocals

Chris Spedding - Lead Guitar

Scottie Turner – Rhythm Guitar

Rob Stoner – Electric Bass

Howie Wyeth - Drums

Audio ripped from video files (quality is great) thanks to Rockin-djames for the video.

John & Jackie - Little Girl

This post is dedicated to Mick Cocksedge (Honest Hal), lead singer with The Dead Bone Ramblers

and Mick is also a fellow blogger check out his site at Sleazy Digest Books

I came across John & Jackie’s ‘Little Girl’ on an obviously bootlegged collection of CD’s called ‘Rockabilly Raves volumes 1-10’  - this track was the opener of volume 8. I was intrigued that it had a publish date of 1958 and I also wondered how it got passed the strict (at the time) obscene publications rules. It was released on the Aladdin label out of California in the summer of '58.

‘Little Girl’.

John’s uninspired vocal on this track gives the listener little confidence to carry on and finish the song instead just the desire to click the eject button and move on. But stick with it - okay, he does sound like a crooner (Moon in June etc., think Pat Boone). It’s not until Jackie comes in with her simulated orgasms (singing??) that the song really picks up pace and gets going. The backing musicians give the record bop appeal. This record is bizarre, especially for its time - what do you think?

LITTLE GIRL

‘The Raging Sea’.

On this side, John livens up his vocal somewhat (although still a crooner’s delivery). I love the guitar on this platter, but Jackie seems to have lost interest in Johnny’s charms and is just going through the motions! All in all for some reason I like this one too.

THE RAGING SEA

Both sides were written by wild rockabilly singer Gene Maltais of Crazy Baby fame! 

Pim Maas?

I saw a post on Facebook about Pim Maas aka the Dutch Elvis. 

The text below was adapted from an original story by George Evers

Rarity Records, 1991 by Black Cat Rockabilly

In the fifties and early sixties Pim Maas was RCA's official Dutch Elvis. Pim was born on June 26, 1944 in Amsterdam, son of a bar owner and professional saxophone player. At the age of 14 he used all of his allowance to buy Elvis records and seeing Elvis' movies at the cinema. He took guitar lessons and joined his dad's band. One day in 1959 he read a poster at the Cinema Royal in Amsterdam, that there was gonna be an Elvis Presley contest, Pim duly entered and after 3 weeks, from a total of 324 contestants, he came out first. Runner up was Ria Valk, a girl who later gained fame with hits such as "Rocking Billy" and "Tommy Uit Tennessee".

At this time Pim’s father’s "Stateside" bar was very popular with the American G.I.’s based in Germany and it was in this bar that a soldier based at Bad Nauheim with Elvis Presley heard Pim’s first R.C.A. release "Kansas City". He was so impressed with the record that he promised to arrange a meeting for Pim with Elvis. Pim didn’t take all this too seriously but a short time after he received a letter with an invitation and travelled to Germany with his parents, where they were met by Pim's idol, Elvis Presley. They stayed for two days and Pim and Elvis even did a mini-show together for the G.I.'s, they performed 3 songs with piano accompaniment.

The visit to Germany also resulted in an invitation to come the U.S. and Pim stayed states-side for 9 months. He couldn’t stay as long as he wanted, because he could not get a permanent working permit at that time. In the early sixties Pim toured Europe, mainly in Holland, Scandinavia, Spain and Germany. In the early 70s Pim joined the "Big Rock Revival" and scored another hit in 1974 with "What Makes The World". In the mid 70s Pim moved to the United States where he still lives today.

In the early 90s there is a renewed interest in Pim’s music with the release of a limited edition single and an TV appearance on "Sunday Evening With Van Willigenburg", a popular Dutch television programme. Rarity Records released a 10 track LP titled "The Dutch Elvis" (LP 192441) with Pim's 50s and early 60s recordings in 1991. Other Rarity releases include "Pim Maas Sings Elvis" (CD 192501) and "Now And Then" (2CD 192600). Some of Pim's early recordings can also be found on the ultimate Dutch rock 'n' roll collection "De Rock 'n' Roll Methode" (Sam Sam Music).

                                                   

Gene Vincent Saturday Club March 1960

Saturday Club March 5th 1960
Introduction by Brian Matthew
 Say Mama
Summertime
Be Bop A Lula
Rocky Road Blues

Saturday Club March 12th 1960
Introduction
Wildcat
Introduction
My Heart

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Wayne Hancock

RAILROAD BLUES 

Ripped from YouTube via ImpactFM into MP3 format using audacity software.

COW COW BOOGIE (14MB)

RAILROAD BLUES (8.22MB)

KANSAS CITY (15.5MB)

LOVE SICK BLUES (7.5MB)

THE VIPER (7.8MB)

MILK COW BLUES (16.8MB)

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No P/W

Get On The Right Track...

With Volker Houghton

 Great music needs information such as the singer, label, release date and record label to go along with it. I am surprised how many D.J.’s just assume that the listener knows what they are listening to! I have been into the rock ‘n’ roll scene for over thirty years, but I am not so smug that I think I know it all. The truth is I don’t, and I like to ask for more information, but there seems to be an expectation that you either know, or if not you keep your ignorance to yourself, so when I do ask and the looks of disdain I sometimes get are amazing…

 With ‘Get on the Right Track’ (GOTRT), hosted by Volker Houghton, I have no worries about being left in the dark about the records he plays. His enthusiasm shines through when he waxes lyrical about why he likes the music. He has stories too, about where and when he first heard the songs, where he was, and what he was doing at the time.

 The show airs via SG1 Radio Stevenage (www.sg1radio.co.uk) on Sunday nights from 7pm-9pm, and you can also download past shows via the podcast link (http://www.sg1radio.co.uk/series/get-on-the-right-track/). You can also hear GOTRT on Rockabilly Radio!

 The shows kick off with the excellent ‘Three to Get Ready’. Basically, it is the last three songs you listen to before you head out of the door for a night of Rock ‘n’ Roll. Anyone can send in their choices, even the great Joe Clay and Art Adams have been involved! Now that’s a great recommendation from a pair of living legends. Volker also plays and reviews new releases from current rockin’ bands, as well as offering the latest information on ‘Bear Family’ boxsets. Volker knows his stuff, and if he does not he will tell you that the song is new to him, and give you the information he has found out about the tune to boot. GOTRT is a mixed bag of great vintage rock ‘n’ roll music including rare tracks and alternative takes but he does not forget the classics either. I think the show is a fresh breath of air on a scene that has, let’s not forget, been going on for over sixty years. For me, the icing on the cake with a scene focused essentially on the past is the fact that I am still discovering new music…

Ian Samwell

Ian Samwell & Cliff Richard with an unknown cat in a rather cool shirt, Butlins holiday camp 1958.

'Schoolboy Crush' was going to be Cliff Richard and the Drifters first release on Columbia records in 1958. Thankfully Ian Samwell came on board and saved the day by writing 'Move It' and 'Schoolboy Crush' was demoted to the B-side. I only wish they did it to 'Livin' Doll' but unfortunately by that time in Cliff's career Ian was no longer part of the set-up. 

Ian Samwell 1937-2003 more info here 

DYNAMITE

HIGH CLASS BABY

MY FEET HIT THE GROUND

NEVER MIND

MEAN STREAK

MOVE IT

FEELIN' FINE

Supersonic Girl

The look, the sound and the originality.

Now available through iTunes & Amazon stores 

After seeing their on-line videos, and eventually catching them live at the Rockabilly Rave 2014, we finally get a C.D. release from this excellent band. Tallinn, Estonia seems an unlikely place to find such a fine sounding (and looking) rock 'n' roll/rockabilly band. 

'Supersonic Girl' was recorded, mixed, and mastered at Lightning Recorders Studio in Berlin by Axel Praefcke and Ike Stoye. Both being Rhythm Bomb recording artists, and more than capable musicians, they were the chosen outfit to record Maryann and the Tri-Tones original demo recordings (see the link at bottom of this post for sound files).

From the first track, 'Honey Babe', the band sets out its stall as to what to expect from the rest of the C.D., and in Maryann and the Tri-Tones case it is full-on rockabilly. There are eight rockers, one stroller 'If I Could I Would' (my favourite, and my ring-tone!), and one haunting ballad 'Queen of the Desert', all penned by Maryann Lants and lead guitarist Artur Skrõpnik ('Honey Babe' was co-written with Yuri Zhukov). 
 I could wax lyrical about this C.D. until the cows come home, but I think I'll leave the in-depth reviews to wiser souls such as Andrew Smith - check out his review here. I also suggest you watch the promo video that was produced by the band. They are in the process of getting the C.D. available for a digital download, and are negotiating deals with on-line record and C.D. stores, so keep em' peeled. You can obtain a copy sooner by contacting the band via their Facebook Page.

Check out this Maryann and the TriTones post from August 2014

The settled line up of Tri-Tones

Maryann (Vocal, Rhythm Guitar)
Artur Skrõpnik (Lead Guitar)
Peeter Karo (Drums)
Mari Laube (Upright Bass)

Shaking Rolling Boogie

It's not hard to see why there is no information on Ricky Wynn on the internet (or indeed Campbell Records). I've had this record for years and I don't know why I've still have it, I hardly ever give it a spin. I like the backing music, but not Ricky's vocal on 'Shaking Rolling Boogie'. Strangely I prefer 'Till Eternity' (but not enough to give it regular plays) it seems so did the guys or guy at Campbell records (R. Campbell was writer of both sides) as it was given A side status.
Anyone out there in Internet-land know anything about Ricky or Campbell records?