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Count Orlock

Rattlers (the)

The Rattlers – I Don’t Want You

Lost Moment LOM003 [1984]
I Don’t Want You – Hey Baby

Rattlers

Debut single for the Rattlers (Mark Carrington on vocals, Steve Davey on lead guitar, Nick Peck on slap bass and Graham Woodside on drums.) Both songs are originals.
A side is a good Rockabilly number with powerful slap bass and clean guitar, while B side shows some Psychobilly influences in the structure and the vocals.


The Rattlers – Scare Me to Death

Lost Moment Records – LMLP 001 [1984]
Scare Me To Death – Little Red  Mine All Mine  Kat Krept In  Hey Baby  Always Yours – Your my Baby – The Rattlin Boogie

Scare Me To Death

The Rattlers were formed in the early 1980s around Mark Carrington (vocals), Nick Peck (double bass), Steve Davey (guitar) and Graham Woodside (drums). In 1984, the group signed with Lost Moment Records and, in the wake, released their first 45 rpm. Shortly after, the Rattlers released their first album under the guidance of Boz Boorer (Polecats). Musically, the Rattlers sound like the turbulent little brothers of the Polecats (for Carrington’s voice) and the Deltas for the energy. The influence of the emerging Psychobilly scene can also be heard on their cover of You’re My Baby (also covered at the same time by Guana Batz). The group does not hesitate to cover songs more associated with the Glam scene (Cat Crept In by Mud or Always Yours by Gary Glitter). The Rattlin Boogie is an excellent instrumental with a second Les Paul-influenced guitar that bears Boz Boorer’s mark. Even though the band has an excellent guitarist and a powerful bassist, it’s sometimes a little chaotic, even shaky, but it always remains new and exciting, which is what Rock’n’roll should always be.


The Rattlers – Take A Ride

Lost Moment Records – LMLP 007 [1985]
Shake Your Money Maker  Knife Edge Baby  Life In A Coffin  Bloo Zoot  Gona Rock  007 Theme  Take A Ride  Mine All Mine  Bad Moon Rising  Blow Up Baby  She’s The One  Love Me  Bare Foot Nelly

Take A Ride

For their second album, the Rattlers are now playing as a trio. Steve Davey and Graham Woodside have both left the band. Robert Clarke is now the Rattlers’ guitarist, and Mark Carrington has moved to drums while continuing to provide vocals.
But these changes in no way affect the group’s energy and ability to play and compose excellent Neo-Rockabilly numbers.
Additionally, the band is produced by Paul Stewart, who knows how to get the most out of the trio. The production is perfect. The stripped-down quasi-acoustic sound of the double bass and drums (almost played without cymbals) contrasts wonderfully with Clarke’s inventive electric guitar. The group gets closer to the Deltas on certain songs (Bloo Zoot, Shake Your Money Maker) to switch, the next moment, to an instant Psychobilly classic (Life In A Coffin) before moving on to a Rockabilly Pop song (Gonna Rock) which, with a bit of promotion could almost have been a hit. The trio also offers an excellent version of the 007 Theme, recorded at Stewart’s suggestion because the group lacked songs to complete the album. Along the same lines, Blow Up Baby was composed in the studio, with each group member contributing to the writing.
Many Psychobilly and Neo-Rockabilly groups, from Meteors to Swamp Dogs via Stage Frite or Voodoo Dolls, have covered Bad Moon Rising (Creedence Clearwater Revival). Still, the Rattlers’ version is undoubtedly one of the best. Unfortunately, like many other bands before them, in fact, all except the Cramps, the Rattlers fail to recreate the energy and urgency of The Phantom’s Love Me. The album ends with Barefoot Nelly, a hillbilly/skiffle with banjo.


The Rattlers – Never Say Die

Nervous 052 [1989]
Crazy Love CLCD6494
Gone Forever – Cruisin` Around – For Your Love – She`s The One – Savin` It All For You – Loaded Dice – Leavin` You Behind – Never Say Die – The Man With The Twilight Eyes – For You No More – Forbidden Love – October Moon – Never Catch Me Again

The Rattlers - Never Say Die - Nervous
The Rattlers – Never Say Die – Nervous

The Rattlers formed in 1984. the band released various albums, singles, ep’s before splitting a couple of years later. Nick Peck (slap bassist) joined Paul Roman (Quakes) in Paul Roman and the Prowlers for a short time but soon re-frormed the Rattlers, with Doug Sheperd on guitar (formerly in Something Shocking and one time member of the Rattlers for the stage) and Doug McCarthy on drums. A deal was concluded with Nervous Records and they recorded “Never Say Die” with Pete Gage in 1989.
This album is really excellent and though the previous one were good it’s by far a more accomplished work (I believe that Gage is no stranger to that).
The core of the album is made of a majority of self penned neo-rockabilly numbers very well written with tight arrangement and a special care on the vocal harmonies. Peck is a more than competent singer too. A couple of songs border on psychobilly like the title track (superb) and Forbidden Love. At the exact opposite October Moon and Leavin’ You Behind find the band in a jazzy-rockabilly style similar to the Nitros.
The original pressing is now long out of print but it’s been reissue on cd by Crazy Love records and is also available as mp3 download.


The Rattlers – Never A lost Moment

Lost Moment [1991]
Tear It Up – Mystery Train – She’s My Baby – Good Rockin’ Tonight – Rockhouse – Hey Baby – Ting-A-Ling – Little Red – Your My Baby – Walkin’ Whistlin’ Blues – I Don’t Want You – Mine All Mine – Dancin’ Doll – Your My Baby – Rattlin’ Boogie – Life in a Coffin – Take a Ride – Bad Moon Rising – Love Me – 007

The Rattlers - Never a lost moment
The Rattlers – Never a lost moment

What happens when a label wants to cash in on a band’s name? They gather early recordings (very early and much uninspired), poorly recorded live songs as well as a couple of outtakes and alternate takes and the result is a 20 song album that is barely audible. It’s a pity because the Rattlers were a good band and deserved a better treatment than this hastily made compilation. For hardcore fans only (but only them!).


The Rattlers – Live in Europe

Jungle Noise – APECALL 004 [1990]
Rock On – She’s the One – You’re My Baby – Face the Fact – Running – Life in a Coffin – My Way – For Your Love – Twilite Eyes – Waiting for You – Loaded Dice – Bad Moon Rising – I Feel Fine – Forbidden Love – Friday on my Mind – I’m ready – Never Catch Me Again – Little Red – King Creole – Oh Boy

The Rattlers recorded this live album in 1990 with the four-piece line-up of the band, which is the trio of Never say Die with new member Al Dick on bass, allowing Peck to concentrate on vocals.
With 20 songs, it’s a good value for money, though the majority of them are played at the same tempo, which tends to be slightly monotonous after 12 songs. Eight songs are originals while the remaining twelve come from Johnny Cash, Buddy Holly, Eddie Cochran, Elvis, Creedence Clearwater Revival, the Easybeats, Garry Glitter, the Beatles and the Jackals, an American Rock’n’roll band that released one album on Nervous.
The sound is excellent, and the slap bass is very well recorded. It’s a nice addition to your Rattlers collection, though I prefer the studio recordings on which the vocals are better.


The Rattlers – Gangsters and loose Women

Count Orlock R.O.C.K. XII [1991]
Rock On – Change Your Mind – It’s All Over – What Have I Done? – The Chase – Ring On The Other Hand – Back Of My Hand – Through The Curtain – The Race Is On – Haunted Hill – Win Or Lose – Lux Luther Blues – She Don’t Love Me – Beat Out My Love – All The Tears – King Creole

the rattlers gangsters and loose women

With Gangster and Loose Women, the group moves from the neat Neo-Rockabilly of Never Say Die towards a lively and sometimes melodious Psychobilly. The compositions are quite good but, overall, lack a bit of variety both in rhythms and in sound.
Never Say Die benefited from Pete Gage’s presence and experience as a producer. He knew how to get the best out of the group, extending their style while renewing it. Here, the absence of a real producer (the album is produced by Sheperd, Peck, and the sound engineer) is cruelly felt.
Unfortunately, the songs all end up looking a bit similar, although some of the tunes stand out from the rest. We will note the excellent Lex Luther Blues (with harmonica), which recalls the first incarnation of the Rattlers, the acoustic and tuneful All the Tears (although a little weak in terms of vocals), the frantic and excellent The Chase (already released as a single) and a handful of others. But the album, which still contains sixteen tracks, ends up seeming long, which is a shame for a Rock’n’Roll album. The group would have been wiser to leave the often unnecessary covers (Rock On and King Creole being already present on the live album and Beat Out My Love that sounds terribly thin, especially compared to what the Cramps did of that same song) to have a tighter and ultimately more effective record.


Rattlers promo card
Rattlers promo card – first line-up

Bang Bang Bazooka

Bang Bang Bazooka – S/T

Count Orlock R.O.C.K. IV [1988]
Wild One – Dirty Hound – I’m Gonna Love You Too – Stop It Baby – Cheetah Man – Rockin’ Shock – Drive – Rocky Mountain Blues – Goldrush – Red Dress -The Blues That I Hate – Black Widow – Vampire

Rene van Lersel (drums) formed Bang Bang Bazooka in 1987 with Marcel Hoitsema (vocals and guitar), Francois Besson (guitar), Bart Gevers(double bass) and Rene van Lersel (drums).
Their first album saw the light of day the following year. Their sound combines traditional Rockabilly with metal. Despite being uneven in the songwriting, a totally wasted cover of Buddy Holly’s I’m Gonna Love You Too, this album contains a healthy dose of good ideas and originality that saves the final result.

Bang Bang Bazooka – True Rebel

Count Orlock C.O.C.K. VIII [1990]
Frankenstein Rock – Big City – True Rebel – Outlaw Man – Crime On Time – Human Alligator – Gonna Have A Ball – And I Play – Long Black Train – Joe Survived – Big John – Crimson Moon

bang bang bazooka

In 1990, Count Orlock released True Rebel, the band’s second album. It was dedicated to Arno V.D. Wassenberg, the band’s roadie who tragically died in a car accident.
True Rebel sounds like a better and more accomplished version of their debut album. Having Dick “Hardrock-abilly” Kemper in the producer’s seat marks an improvement in terms of production.
The songwriting is better too. A song like Frankenstein Rock, which shows the influence of Batmobile, could easily find its place on Sex Starved or Hard Hammer Hits. They also developed a more aggressive brand of neo-rockabilly by adding elements of Metal and Glam Rock (hence the presence of Crimson Moon, a cover of T-Rex) and even some Boogie Blues.
The guitar is powerful and very present, and the band makes good use of the two guitars even though the lead can sometimes be too intrusive.

Fred “Virgil” Turgis

Crackle Rattle Bash

Crackle Rattle Bash – S/T

Count Orlok Music – R.O.C.K. II [1987]
Save My Money – Gone – I Really Know – Gotta Get You – He Good Lookin’ – Black Out – Roll In My Sweet Baby’s Arms – When You Wanna Go (It’s A Choice) – Wrong Direction, No Perfection – There Was A Time – What Shall We Do Now? – Someday – Memoires – Trouble Minded Girl

Crackle Rattle Bash

Crackle Rattle Bash started around 1986 when Kay Kesting and Aris de Vries performed in a squatter’s building in Arnhem (Holland). Kay played his T-bass, and Aris played the guitar and sang.

Afterwards, they regularly played Amsterdam streets, and Richard Weydert soon joined them on the washboard. They eventually switched the washboard for drums, and the T-bass was dropped for the double bass. They were asked to record two tracks for the Cool Cat Go Ape compilation album.
Then, Frank Bayer joined the band on guitar and ukulele, and in July 1987, they recorded their first and only album on the Count Orlok label.
The band’s overall sound falls somewhere between Neo-Rockabilly and Psychobilly. The whole is pleasant, and some songs are good, but very often, the group does not have the means of its ambitions. And, although they make detours through Rockabilly with doo-wop or skiffle influences, the album is a bit monotonous. Furthermore, the production is a bit light and lacks power. They should have recorded an eight-track mini-album and thus devoted more time to arrangement and production.
They played many gigs in Holland, and after a while, Paul van de Groen replaced Richard on drums. They did a short tour with Batmobile in Germany and eventually split around 1990. Recently, Just Another Normal Guy Records released an album with demos and live recordings of the band.

The Radioactive Kid

crackle rattle bash
crackle rattle bash

Powerdog

Powerdog – S/T

Count Orlock R.O.C.K.13-C.O.C.K.13 [1992]
What Else Is New – Wild Cat – Dog Power – Hideaway – Blood Like Mine – Wild Places – The Gambler – There Ain’t That Much – We Used To Rock – It’s Alright – Sun Goes Down – True Rockabilly – I’ll Be Your Man – I Can’t Believe It

powerdog

Powerdog is another band that is difficult to pigeonhole. Marcel Verbaas formed the combo in 1988 with Wim Van Der Heiden, an old friend with whom he used to hang out in the Rockabilly clubs of Rotterdam. They decided to form a band right away. They rehearsed with various drummers for their first year of existence, playing only covers. The band finally took shape when Robert Van Driesten joined them in 1989. From that moment, they begin to write their own material, with Wim taking the lead vocals duties. They also adopted the name Powerdog.
They caught the attention of Count Orlock, and by October 1991, they found themselves in the studio (Commodore Studio at Zelhem) with Dick Kemper (Batmobile, Bang Bang Bazooka…).
All songs on the album are originals and are very good. Powerdog developed a highly unique sound. They mixed influences from early eighties Neo-Rockabilly (one can hear echoes from the Polecats throughout the platter), Batmobile, and Psychobilly, with hints of Country music (Blood Like Mine) or Heavy Metal (Marcel used to play rhythm guitar in a Heavy Metal band). But they always emphasise the melody, and some songs sound like a cross between Batmobile and the Beatles. The minor flaw is their instrumental (Dog Power), which could be more inspired and sounds more like a backing track than a real instrumental.
Count Orlock released the album in 1992, and that same year Powerdog was the support act for the Stray Cats when they played at the Paradiso in Amsterdam in September.
Powerdog disbanded in 1994.

Powerdog
Powerdog

Blue Cats (the) / G-Men / Beltane Fire

The Blue Cats - The Blue CatsThe Blue Cats – The Blue Cats

 

Rockhouse LPL 8011 [1980]
Just Go Wild Over Rock ‘N’ Roll – I’m Gonna Die – Pretty Pretty Baby – I Dreamed You Left Me – Southbound Blues – Boogie Up Roar – Five Days Five Days – I’m Driving Home – Sweet Love On My Mind –
Caldonia – I Sure Miss You – Jumpin’ Little Mama – Juke Joint Jem – Sure-Fire Way – Goofin’ Around
Debut album featuring the Carlo Edwards (guitar), his brother Stef (drums), Clive Osborne (sax, rhythm guitar) and Dave Phillips (vocals and double bass). Excellent from start to finish. A true classic!

 


The Blue Cats - Fight BackThe Blue Cats – Fight Back

Rockhouse ROCKCD 8111 [1981]
Fight back – Hot & cold – Tired & sleepy – Love me – Jump cat jump – Up a lazy river – Who stole my blue suede shoes – Who slapped John – Wild night – Thunder & lightning – Life fast die young – Made for rockin’ – Slippin’ in – Idle on parade – Birth of the boogie – Everybody’s rockin’
By the end of 1980 the Blue Cats found themselves in need of a bassist and a singer after the departure of Dave Phillips. They quickly recruited Mitch Caws and Clint Bradley both from The Tennessee Rebels and started to work right away. From that moment they started to experiment and write new material with a more modern edge. Released in 1981 Fight Back is representative of that era.
Half of the album reminds the “old” Blue Cats with covers of the Cochran Brothers, Gene Vincent, Eddie Bond, The Phantom, Marvin Rainwater, that are probably here to satisfy the label who didn’t want to make a big departure from their successful debut album. The other half is by far the most interesting with six neo-rockabilly jewels, sometimes close to early psychobilly, written by Bradley.
One can only regret the light production on some of this tracks and wonder how it would have sounded with more studio time.
Almost three decades later, “Fight Back” remains a key album of the early 80’s and a huge influence on numerous bands.


The Blue Cats - The TunnelThe Blue Cats – The Tunnel

Nervous records Nercd069 [1992]
Man With A Mission – Galluping Man – Casting My Spell – The Tunnel – Heavens Gate – Cry On The Wind – Car 76 – Take And Give – Bad Mans Money – Wild Dogs Of Kentucky – Rivers Bend
All I Can Do Is Cry

Winning return for the Blue Cats with this 1992 album with Paul Diffin (Sugar Ray Ford) on bass. Every track here is a killer from the manic neo-rockabilly of Man With A Mission and the Tunnel to the tributes to Cliff Gallup (Gallupin’ Man) and Gene Vincent (Cry On the Wind) and what could possibly be the definitive version of All I Can Do Is Cry. 
Fred “Virgil” Turgis


Blue Cats (the) – 1978 The Re-discovered Masters 1984

Count Orlock – COCK XXIII
I Don’t Care If The Sun Don’t Shine* – Jumps Giggles and Shouts* – Mystery Train** – I’ll Never Let You Go** – The Saints Rock ‘n’ Roll** – Gotta Git A-Goin’ ** – Baby’s Number One** – I’ve Got No Time For You** – Gotta Go*** – Left Out*** – Eldorado**** – The Master’s Call****
*Blue Cat Trio – **The Blue Cats – ***The G-Men – ****Beltane Fire
The title says it all. It’s a compilation of rare and mostly unissued material by the Blue Cats in all their incarnations. It features songs from their beginning with Dave Phillips as a Rockabilly trio. The songs with Clind Bradley easily shows they could have topped any weekender as a traditionnal Rockabilly band. Instead as we know it they continue to explore and pushed the boundaries to create their unique neo-rockabilly sound. It culminates with the G-Men, a band that created something new that had a lasting impact on the Psychobilly scene with Gotta Go being covered by Frenzy and Long Tall Texans.
Two songs by Beltane Fire find Bradley in his natural element singing Marty Robbins tunes.


Blue Cats (the) – Best Dawn Yet

Blue Cats - Best Dawn Yet

Blue Light Records BLR 33165 2
Billy Ruffians – The Norton Spirit – Turn My Back On You – Blue Prairie – My Dark Dark Mind – Badon Hill – Long Road Home – Captain Blood – Burnette – Following Ahab – Secret Agent Man – Lonesome Desperado

Twenty years after the release of the Tunnel, a landmark in the history of modern Rockabilly, the Blue Cats returned with a new double bass player (Steve Whitehouse of Frenzy and the Sharks) and a new album.
Since Clint Bradley joined the band, the Blue Cats always tried to push the boundaries of the genre while keeping the spirit and the essence of true Rock’n’Roll. And this platter doesn’t disappoint. Modern yet classic.
Billy Ruffian is a fantastic piece of modern Rockabilly with exciting changes in the melody, with what I call “typical Carlo Edwards riffs.” The rhythm section is powerful and demonstrates that Steve Whitehouse was the right choice to succeed to Mitch Caws and Paul Diffin. It could be hard to follow such an opener, but not for Bradley and his gang. The Norton Spirit is a powerful rocker. And even with a straight-ahead rocker like this that lets very little margin to the singer, Bradley proves he’s one of the best singers on the rockin’ scene today.
Billy Fury’s Turn My Back On You is pure Rockabilly gold straight from the ’50s with echo and hiccups.
The Sons of the Pioneers’ Blue Prairie seems tailored-made for Bradley’s voice, and it’s the occasion to hear Carlo Edwards play some steel-guitar.
My Dark Dark Mind is another slice of modern Rockabilly. This one features Paul Diffin on bass, so it’s probably an old recording.
The Blue Cats always took care to write different lyrics than your usual “love my Cadillac” thing. Billy Ruffians evoked Trafalgar and Nelson, and Badon Hill is about King Arthur.
Long Road Home is not the most original track of the album, but once again, the playing and the production are flawless. Captain Blood takes the listener back to the Beltane Fire days with Mitch Caws on bass. A good one, though the production is a bit too much for me. Burnette is a tribute to Johnny Burnette and Grady Martin. No big surprise but very well done and pleasant. Though, maybe, I find Gallupin’ Man their tribute to Gene Vincent and Cliff Gallup on the Tunnel more interesting.
After a rocking Secret Agent Man, the album ends with Lonesome Desperado; a superb Marty Robbins influenced tune on which Bradley’s voice is more eloquent than ever.

blue cats
The Blue Cats (Clint Bradley, Stef Edwards, Carlo Edwards and Paul Diffin)

Scam

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Scam - Gamblin fever
Scam – Gamblin fever

Scam – Gamblin’ Fever

Count Orlock
Pirates And Thieves – Captain Caveman – Magic Bus – Searching -. Hangover – Nutcrackers – Island Of Rock -. Somebody Tell Me – Losing Touch – Gamblin’ Fever – Dr. No – Ready, Willing And Able
Scam released their debut album on Count Orlock in 1988, this first album is very representative of the sound of the day. Light drums, slap bass and a clean electric guitar, influenced by Restless and fellow Dutchmen Batmobile. The sound is good (Johnny Z. produces. Any link to Johnny Zuidhof from Batmobile?) but could be a bit “fuller”. They have good original songs (Hangover, Captain Caveman, Ready Willing & Able) but the long distance (12 songs) tends to disadvantage the band and the album sounds a bit repetitive, they could have reduced it to eight solid songs. They also cover the Who’s Magic Bus,a band previously covered on the Juvenile Delinquents album (My Generation). I’m not sure sure it’s been reissued on cd, so try to grab a vinyl copy on ebay.


Scam - Infant Years
Scam – Infant Years

Scam – Infant Years

Tombstone
Haunted House – Death Train – Can I Get A Witness – Cry Out – I Can’t See – The Eyes – Boogie Disease
Despite an ugly cover, this mini lp, recorded in 1989, shows an improvement from the first album. If there’s not a big departure in term of sound but the band is tighter and the songs less repetitive.

 


Scam - A million dollar scam
Scam – A million dollar scam

Scam – A Million Dollar Scam

Rockhouse
The getaway – Dead and gone – Cold as ice – Where did I go wrong – Stop bugging me – I’m going crazy – Hang ’em high – Stop that gorilla – You can’t trick me – Goodbye so long – Which way now – Devil’s music – It ain’t right – Bloodbrothers – Trouble tonight – Loved that woman – Drink that bottle down – Candy man
Released in 1991, this album (their third after Gamblin Fever and Infant Years) marks a new step for the band. To their usual brand of light psychobilly/neo-rockabilly, they add a good dose of rockin’ blues with blues harp, saxophone and slide guitar. The set is varied and the song inspired. A guest singer is present on a couple of songs and brings a bit of diversity. A good album that shows the evolution and the maturity of the band. Reissued on cd with four bonus tracks.

Fred “Virgil” Turgis