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el toro records

Dolly Cooper

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Dolly Cooper – Tell Me, Tell Me

El Toro ET15039
My Man – Ay La Bah / Tell Me, Tell Me – Big Rock Inn

Dolly Cooper first recorded for Savoy, then moved to Modern and Dot. The songs from the side A were recorded for Modern and those from the side B for Dot.
My Man is a superb proto Rock’n’Roll that could have been a Bill Haley tune (or vice-versa). Her backing band is Maxwell Davis and Orchestra who also accompanied Clarence Gatemouth Brown, Etta James or Young Jessie. Ay La Bah is more anecdotical, but it features some fine doo-wop backing vocals and a brief but stunning guitar solo.
Tell Me, Tell Me is wild tune with another super guitar part. Same goes for Big Rock Inn which is even wilder, on which the singer gives it all.

Fred “Virgil” Turgis

Ella Johnson

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Ella Johnson - Bring It Home!

Ella Johnson – Bring It Home!

El Toro ET15141
What a Day! – No More Love / They Don’t Want me to Rock No More – Bring It Home to Me

Ella Johnson - Bring It Home!

The great Ella Johnson, who recorded with her brother Buddy falls right on that blurry line between Rhythm’n’Blues and Jazz with a dose of Rock’n’Roll. The singer possesses a beautiful voice, very clean yet expressive. The tight arrangements remind those of the Big Band era, and there’s plenty of room for soloists to express themselves (superb rocking sax part on They Don’t Want Me to Rock No More). You’ll love this EP if you dig Dinah Washington and Ella Mae Morse.

Fred “Virgil” Turgis

Aces (the)

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the aces

Aces (the) – No One Rides For Free

the aces

El Toro ETCD 6044
You’re Gonna Loose – Stole Something From Me – Shed Some Light On Me – Knee Deep In Mud – Drinkin Song – Need Your Lovin’ – Down In The Cave – Mr Highway Man – House On The Hill – Kanka Kanka

If you believe that Eric Clapton is a blues god, well, nice to meet you and see you later. But if you like your blues raw, dirty, primitive, and threatening, the Aces are the band for you. With two guitars, drums, harmonica, and distorted vocals, this California (Santa Rosa) combo plays a lo-fi electric blues with a hypnotic beat that takes its roots in the likes of Hound Dog Taylor and RL Burnside. They add a good dose of garage with a “straight in your face” powerful wall of sound. Imagine if the Cramps had taken their main inspiration in Chicago blues instead of rockabilly. But enough of comparison they build their own sound, keeping things simple and effective, no flashy licks here or 20 minutes solos, but guitar player Derek Irving keeps things varied, playing slide guitar on some tunes and sitar on others, like on “Down On The Cave” with its “Smokestack Lightnin’” inspired riff.
It’s music with guts and sweat and, in the end, a truly great album.

Fred “Virgil” Turgis

Rossella Scarlet

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Rossella Scarlet & the Cold Cold Hearts – The Day Will Come

Rossella Scarlet

El Toro Records ET-15.128 [2019]
You Were So Blind – A Painting On the Wall – The Day Will Come – Wondering

Rossella Scarlet comes from Italy and is now living in London. She just released her debut ep on El Toro backed by the Cold Cold Hearts (I suspect the young lady to be a Hank Williams fan.) This terrific musical aggregation consists of Graham Murphy (Jump Cat Jump, Frantix) on guitar, Phil Morgan (Lynette Morgan & The Blackwater Valley Boys, Doel Brothers) on steel guitar, and Emma Goss (Sara Vista, Something Shocking) on double bass.
If you like classic country music straight from the late 40s/ early ’50s look no further, this ep is for you. Three songs are from the pen of Miss Scarlett, and Frankie Riedel wrote the fourth one (Wondering). So not only we have a pretty good singer with a vibrant voice but also a solid songwriter.
“You Were so Blind” is a superb hillbilly that has nothing to envy to Wayne Hancock. “A Painting on the Wall” is a soulful ballad with a haunting steel guitar. Though good, it could easily be one minute shorter to be more efficient.
B-side kicks off with “The Day Will Come,” another tune strongly-led by the double bass. Supported by a delicate guitar picking, “Wondering,” a duet with Phil Morgan, closes the set in beauty.



Mitch Woods

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Mitch Woods Jukebox drive

Mitch Woods – Jukebox Drive

El Toro Records
Jukebox Drive – Drunk – Boppin’ The Boogie – Blue Light Boogie – Saturday Night Boogie Woogie Man – Blues Hangover – Boogie Woogie Bar-B-Q – Tipitina – Boom Boom – Parchman Farm – Swell Lookin’ Babe – Mitch’s Boogie

Piano player Mitch Woods has made quite a name on the blues/jump scene, releasing numerous albums. He also worked with legends such as John Lee Hooker and Earl King to name but two.

His touring led him to Europe where he stopped in Barcelona, Spain. There, he met one of the finest gang of blues and jump musicians : The Lazy Jumpers. Together they recorded these fine piece of jumpin’ blues, boogie woogie and juicy rhythm and blues.

Half of the 12 songs are Woods’originals, but if the credits weren’t written, you’d swear these are covers as they perfectly fit in the rest of the material. The general inspiration rangess from Louis Jordan to Jimmy Liggins, but you also find a straight blues number with Hooker’s Boom Boom (not very original idea of cover, but well played so… enjoy), a bit of rock’n’roll (the Little Richard inspired “Swell Lookin’ Babe“) and on the jazz side a solid six minute version Mose Allison’s Parchman Farm.

Another nice addition to El Toro Rhythm & Blues serie and one more evidence of the Lazy Jumpers’ talent.
Buy it here.


Fred “Virgil” Turgis

Wise Guyz (the)

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Wise Guyz

Wise Guyz (the) – Don’t Touch My Greasy hair [2011]

El Toro
Don’t Touch My Greasy hair – It’s Not Right – I’m A fool – Heat – Hey hey Little Chick – I’ve Kissed You baby – Jukebox Jumpin’ – Rock Me Baby – I wanna Be – Moonlight In The Dark – Kissin’ Is On My Mind – Really Rocket – Girls babies Chicks & Hunnies – Hold Me baby – Let’s Fly To The Stars – Love Me Or Leave me – Goodbye My Baby

This is the fourth album for the Wise Guyz. This quartet comes from Ukrain. The first listen makes clear that Johnny Burnette is an obvious influence for these guys. They try to vary things by bringing a sax on “Heat”and “Hold Me Bay” but it’s not very well exploited and fail to convince like their doo wop attempts (I’ve kissed You). The constant distortion on the voice is, at the end, very disturbing and I was curious after two songs to hear how the singer really sounded. Could he sing without that artifice? It’s only on the 15th song, a gentle ballad, that his “real” voice” could at last be heard. It proves that the band should really play more in this way.

Their originals are good, but far from being unforgettable, and once again I maintain that 17 songs are way too much for a rock’n’roll album , and after 8 songs they all sound more or less the same. Too many musicians forget that Rockabilly is mainly a music made for 45’s.

For fans of desperate rock’n’roll things.

Fred “Virgil” Turgis

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