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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 – Face The Fact

Raucous Records RAUC 012
Face the Fact – Running / I Feel Fine – Waiting for You To Call

face the fact

After the resounding success of “Never Say Die,” the Rattlers continued their momentum with a new EP the following year. Produced by Boz Boorer (Polecats), the EP featured a new line-up with Alistair Dick on double bass, allowing Nick Peck to focus solely on vocals. The EP is well-produced and features fast-paced beats and catchy songs. “Face The Fact,” a composition by Boorer, showcases a melodic Neo-Rockabilly style, while “Running” leans more towards Psychobilly with its intense rhythm, raspy vocals, and contained rage.
Despite Peck’s somewhat imprecise singing, “I Feel Fine” works very well. It demonstrates how well the Beatles’ music lends itself to Neo-Rockabilly, following the likes of the Nitros, the Stringbeans, the Polecats, and Dave Phillips.
The EP concludes with “Waiting For You To Call,” driven by the lively drums of Doug Mc Carthy.


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

Spook and the Ghouls

Spook and the Ghouls – Whitechapel Murders

Nervous Records – NERD 043 [1988]
Reaper Grim – Demon Barber On Fleet Street – Vampira – Nightmares From Beyond – Love Me So – Let ‘Em Swing – Twisted Kind – Gallows Are Awaiting – Werewolf In Our Town – Dead Flesh Creeping – Bela Lugosi’s Dead – Live And Raw – Death Ride – Rocker

Spook and the Ghouls

Spook and the Ghouls formed in the mid-1980s with Simon Badminton (vocals and double bass), Dave Kingdon (guitar), and Vic Greener (drums). The band’s outrageous makeup on the album cover tends to make them lose credibility. But it would be a shame to stop at this first sight because you would be missing out on an original group that stood out in the Psychobilly landscape of the second half of the 1980s.

Spook and the Ghouls develop a highly original style that is dark, grim, and very gloomy—in other words, gothic—but always melodic and in which the Rockabilly base remains very present.

The group’s success lies in their unique approach. Their music is not about being loud or aggressive. It’s about creating an unsettling, even oppressive atmosphere as if the singer is whispering a story directly into your ears. This aesthetic is perfectly captured in their cover of Bauhaus’s ‘Bela Lugosi’s Dead ‘. The guitar work is a journey through various sounds and textures, from rock’n’roll to garage (Vampira), with detours into Surf and Metal (Nightmares from Beyond). The few Rockabilly tunes, lighter and bouncy, may seem out of place, but they are surprisingly effective.

Ultimately, when the trio plays a more classic and predictable Psychobilly, it loses its personality and is less convincing (like on their cover of AC/DC’s Rocker). Fortunately, there are very few.

If you’ve only skimmed through this record or are open to discovering a different album, I urge you to give this hard-to-pigeonhole record a thorough listen. You might just find yourself drawn into the unique world of Spook and the Ghouls.

The Radioactive Kid

Frantic Flintstones

Frantic Flintstones

Frantic Flintstones

Gavin “Chuck” Harvey was born in 1963. His interest in music was sparked by listening to bands like T-Rex, Slade, and The Sweet. At fifteen, he discovered Punk music, with The Clash having the most significant influence on him. The open-mindedness and genre-mixing of Joe Strummer’s band, including elements of Reggae and Ska, would later be reflected in the music of the Frantic Flintstones. They also covered songs like Jimmy Jazz and Bankrobber.
Harvey formed his first band, Mute, where he played bass, albeit not very well according to his own assessment. He then became the vocalist for a Punk/Surf group called What’s This Fish? After discovering the Psychobilly genre, he met Toby ‘Jug’ Griffin, the drummer for Coffin Nails, and this led to the formation of the Frantic Flintstones (initially named the Flintstones). The initial lineup consisted of Chuck, Rick (guitar), Clive Howling (bass), and Griffin on drums. After their first concert in October 1986, Chuck left What’s This Fish? to fully focus on the Frantic Flintstones.
In early 1987, Toby joined the Meteors and left the group, followed by Ric. Chuck then recruited Monkey Gunning, the drummer of What’s This Fish, and Neil ‘Nodger’ Smith. 1987 was a busy year for Chuck and the Frantic Flintstones, as they made a name for themselves on the scene. During this time, Ginger Jones replaced Howling on double bass, but his tenure was short-lived once Chuck met Gary “Gaz” Day. The bassist had advertised his services in Sounds after his first group, the Mysterons, disbanded. Chuck and Gaz hit it off immediately. This lineup (Chuck, Gary Day, Andy Gunning, and Neil Smith) marked the beginning of the group’s recording career.


Bedrock!

Raucous Records RAUC002 [1987]
Bedrock – Hot Head Baby – Let’s Go Somewhere – Sugar Daddy

frantic flintstones

In July 1987, the Frantic Flintstones entered the South Hill Park studios in Bracknell under the supervision of Mark “Swordfish” Hunt to record five tracks, including the four featured here and “Alley Cat King.”
All the elements that would define the trademark sound of the Frantic Flintstones were already present: wild vocals from Chuck Harvey, energetic slap bass by Gary Day, and simple yet effective guitar. The recording included three fast-paced Psychobilly tunes and a slower track, “Sugar Daddy,” to close.
A total of 1,500 copies were pressed: 1,000 with a printed sleeve and 500 with a white sleeve.


Frantic Flintstones – A Nightmare on Nervous

Nervous Records NERCD034 [1988]
Hellfire – Monte Carlo or Bust – 44 – Please Cool Baby – Oh Baby oh Yeah – Alley Cat King – Gone Gone Well Gone – Red Chevy – Ring ring ringin’ – What the Hell – Sugar Daddy – Frantic Flintstones – Safe Surf* – Shake Your Honey Maker* – Old Jack Joe* – Jack the Ripper* – Whisky Bottle Baby* [*CD bonus tracks]

A Nightmare On Nervous

After the success of their debut EP, Roy Williams of Nervous Records approached the Frantic Flintstones to record an album. The band reunited with Mark Hunt and recorded “A Nightmare On Nervous” in December 1987 and January 1988, with a release planned for March of the same year.
In a certain aspect, “A Nightmare On Nervous” can be compared to an early Johnny Cash album. By that, I mean these guys turned their weaknesses into strengths. With a guitarist who was far from a virtuoso, they built their songs around Chuck’s distinctive voice and a solid rhythm section featuring the powerful Gary Day on bass. However, some songs, though good, like “Sugar Daddy” and “Monte Carlo and Bust,” could have been shorter by a minute. Nevertheless, this album is full of classics with different styles: early psychobilly (What The Hell and Alley Cat King), neo-rockabilly (44, Red Chevy), and even a wild rockin’ blues (Billy Fury’s “Since You’ve Been Gone” renamed here Gone Gone Well Gone).
The CD version featured five bonus tracks, some recorded later with Gasty on bass: two covers played the Flintstones way, “Shake Your Honey Maker” and “Old Black Joe,” “Safe Surf,” a semi-instrumental (Safe Surf repeated a dozen times doesn’t count as lyrics, does it?), “Jack The Ripper” (not Screaming Lord Sutch’s song), and an excellent original “Whisky Bottle Baby,” previously known in a live version on the “Live & Rockin’” album.“, and an excellent original “Whisky Bottle Baby” previously known in a live version on the “Live & Rockin’” album.

Frantic Flintstones A NIghtmare On Nervous

Frantic Flintstones – Rockin’ Out

Link Records – LINK LP 051 [1988]
Rockin’ Out – What The Hell – One Night Stand – Hot Head Baby / Chuck Blows A Fuse – Rockin’ Bones – Let’s Go Somewhere (Rockin’) – No One Stays

rockin out

The Frantic Flintstones had a successful first album, but it was too long. The following year, they returned with a new label (Link Records), a new guitarist (Jon “Pug” Peet, ex-Mysterons with Gaz Day), and a new mini-album. The shorter length (eight tracks) suited the group better. Surprisingly, the album opens with a Jazzy Fever-style instrumental with a muted trumpet, but something doesn’t quite match the atmosphere: Gaz’s overpowering double bass, which seems invested with a life of its own. The group quickly transitions into a new frenzied version of What the Hell. The future classics follow one after the other. The group has found its balance with this new lineup between Chuck’s rich voice, Gaz’s furious double bass, and Pug’s economical yet precise guitar. As the first side of the record ends, the listener barely has the strength to turn the record over, yet the group launches into Chuck Blows a Fuse, a furious instrumental. Three superb compositions follow, two of which were written during the Mysterons era (No One Stays and House Of Rockin’ Bones), and it’s already over. The Frantic Flintstones have an impressive discography, but this record alone would have been enough for Chuck and his band to make their mark in the Psychobilly genre.


Frantic Flintstones – Yahbahdahbahdoo!

KIX 4 U 2229 [1989]
Alley Cat King – Bed Rock – Hot Head Baby (2nd Version) – Let’s Go Somewhere – Sugar Daddy – Hot Head Baby (1st Version)

This mini-album contains the tracks from the first EP. It also includes a second version of Hot Head Baby, which is not very different from the first version. Additionally, it features the initial version of Alley Cat King, which was recorded during the same sessions. This version has a rawer, almost garage-like sound and approach. The band later refined the song for ‘A Nightmare On Nervous,’ resulting in the masterpiece we know.


Frantic Flintstones – Not Christmas Album

Link Records – Link LP 072 [1989]
Frantic – Wider Road To Hell – Honey Maker – Necro Blues – Oh Little Town Of Bedrock – Gone Gone Well Gone (Harp Mix) / Alone Again/Round Mountain – Just Because – Santa Bring My Baby Back To Me – Santa Claus Is Back In Town – Blue Christmas – Ole Black Joe

The year 1988 was coming to an end, and the Frantic Flintstones showed no signs of slowing down. With their new double bassist, Gasty from the Blue Ridge Rockets (along with Martin “Griz” Smith, also from the Blue Ridge Rockets on drums for some tracks), they went into the studio to record what would eventually become the “Not Christmas Album.”
The group expanded its musical range with the help of guest musicians, including saxophone, slide guitar, banjo, and harmonica. The album kicks off with a cover of Prince Buster’s “Madness,” appropriately renamed “Frantic.” The combination of sax and double bass creates an explosive sound.
The album alternates between slow, menacing parts and sudden accelerations, showcasing a return to top form for the Psychobilly genre with “Wider Road To Hell.” “Shake Your Money Maker” by Elmore James is transformed into a psychotic blues that perfectly suits Chuck and his band. “Necro Blues,” also recorded under the title “Jack the Ripper,” leans more towards the Rockabilly/Hillbilly side.
“Oh Little Town Of Bedrock” starts as a gospel song (“Oh Little Town Of Bethlehem”) before transitioning into a furious new version of “Bedrock.”
Chuck and his band then deliver a new version of “Gone, Gone, Well Gone” (originally Billy Fury’s “Since You’ve Been Gone”), which features an extended bluesy intro with a harmonica.
“Alone Again” begins slowly in a country blues atmosphere, accentuated by the slide guitar, before ending with a festive rendition of “Round Mountain.”
Next, the album features an excellent version of “Just Because” with saxophone. Still in a Presley mood, the Frantic Flintstones cover three Christmas classics played by the King, including an excellent bluesy rendition of “Santa Claus Is Back In Town.”
The superb and eclectic album concluded with “Ole Black Joe.”


Frantic Flintstones – s/t

Raucous Records – RAUC 009 [1989]
Old Black Joe – Alcohol Buzz / 44 – Just Because (HillBill)

This excellent EP was recorded with the same lineup as the one found on the Not Christmas Album (Chuck/Pug/Gasty/Andy). Old Black Joe, also found on Not Christmas Album, is a wild, Psychobilly version of the classic previously recorded by Jerry Lee Lewis, Crazy Cavan & the Rhythm Rockers and Demented Are Go(among others). Alcohol Buzz is more in a Blues/Rockin’ Blues vein, which allows Pug to perform an excellent and lengthy solo. The third track is a new version of 44, superior to the one recorded on Nightmare On Nervous. This essential EP closes with a “hillbilly” version of Just Because, on which Chuck takes his best Cousin Jody voice.


Frantic Flintstones – Live’n’Rockin

Link Records – LINK LP 098 [1989]
Alone Again – Round the Mountain – What The Hell -. Shake Your Moneymaker – No One Stays – Rockin’Bones – Necro Blues – Hang Ten – Bedrock – Old Black Joe – Gone Gone Well Gone – Playschool Baby – Just Because -. Whisky Bottle Baby – One Night Stand – Blue Christmas

The Live and Rockin’ series on Link was mainly a poorly recorded (and often poorly played) affair. One notable exception was the Frantic Flintstone live album recorded during the Rocking Out tour in November 1988. Despite being recorded just after the departure of ace bass player Gary “Gaz” Day(replaced by Gasty from the Blue Ridge Rockets), it finds the Flintstones in top form, playing classics one after another. The songs come from Nightmare on Nervous, Rockin’ Out, and, for the large part, Not A Christmas Album, recorded a couple of weeks after this gig.


Frantic Flintstones – The Nightmare Continues… Demonic Verses…Chuck’s Revenge

Link Records LINK LP 109 [1989] 
Smack Smack – Dog Rip – Bone Rest – Twisted Retard – Rasppin’ Grasses – Burned ‘N’ Turned – Dustbin Case – Five Clawed Talon – Angel – Lost Love – Astral Cowboy – Waste of Life

frantic flintstones

After releasing a few high-end Psychobilly albums still very much influenced by Rockabilly and Neo-Rockabilly, the Frantic Flintstones released “The Nightmare Continues” in 1989. The album was recorded in June of that year and featured Andy Celbo on drums, along with Jon Peet and Gasty. The result was somewhat surprising. While Chuck’s distinctive voice remained recognizable, the entire album had a very dark tone. The heavy and powerful sound was supported by one or more distorted guitars, giving the impression that the Frantic Flintstones had merged with Demented Are Go. This overall sound was quite successful in blending Psychobilly Gothic with the style of the Frantic Flintstones. However, the length of the album made it somewhat repetitive, homogenizing the sound and making all the songs end up sounding similar.


Frantic Flintstones – The Raucous Recordings – Vol. 1

Raucous Records – RAUC LP003 [1990]
Bedrock – Hot Head Baby – Let’s Go Somewhere – Sugar Daddy – Alley Cat King – Ole Black Joe – 44 – Shakin’ – Alcohol Buzz – Hang 10 – Oh Baby Oh Yeah – Hot Head Baby – Phone Call – Raging Sea – B.M.X. – Just Because

Raucous recordings

This compilation includes some early recordings of the Frantic Flintstones. On the A-side, you’ll find the hard-to-find two EPs released by Raucous. This selection is complemented by Alley Cat King, recorded during the sessions for the first single, and Shakin’ (a cover of Shake Your Money Maker by Elmore James).
Side B is home to six live tracks. While the exact date and personnel for these recordings are unclear, they were likely captured at the group’s early stages. The sound quality may not be perfect, and the group’s playing may be somewhat rough. Still, there’s a unique aspect to these tracks: not only can you hear two rare songs (Gene Maltais’ Raging Sea and B.M.X.), but some seem to be played with electric bass, adding an interesting twist to the group’s sound.


Frantic Flintstones – Schlachthof Boogie Woogie

Link Records LINK LP 129 [1990]
Drugs in the Valley – Holy Sisters – Playschool Baby – Absolution – Endless Sleep – Hang 10 – Trips – Pantman – Breakout Mania – Gonna Miss Ya! – Sexy Red Number – West of London – The Race Is On – Legion Song – D.S. – Pantman

It is challenging to release multiple albums in a short time while maintaining consistent quality. The album Schlachthof Boogie Woogie, which was released in 1990, demonstrates this. While it contains some good songs, it also has a significant amount of filler. The album lacks coherence and suffers from the absence of a solid musical lineup behind Chuck and Jonny Pug. The tracks vary in style, ranging from the acoustic rendition of “Drugs In The Valley (Peace In the Valley)” to “Holy Sisters,” which recalls “The Nightmare Continues.” In between, there is another version of “Playschool Baby” (this time with fiddle, perhaps in an attempt to sound like Demented Are Go?), skabilly track “Endless Sleep,” tunes with a laid-back feeling like “Trips,” a massacre of a classic song (“The Race Is On”), and useless instrumentals like “Breakout Mania” or “Pantman” (aka Batman) with which we are presented in two versions. Not only does it lack coherence, but the execution is also uneven (e.g. the double bass on “Sexy Number” sounds very weird). One highlight is “West Of London,” an adaptation of John Denver’s “West Virginia,” but the group later recorded a superior version for “Cuttin’ A Fine Line.”


Frantic Flintstones – Well Gone In Europe

Kix4U KIX 3358 [1990]
Ole Black Joe – Alcohol Buzz – 44 – Honey Maker – Necro Blues – Gone Gone Well Gone – Let’s Go Somewhere – The Race Is On – Legion Song – Cryin’ Eyes (Country Mix – Broke Up (f/mushrooms Mix) – Endless Sleep (Skankabilly Mix)

frantic flintstones well gone in europe

The Frantic Flintstones released many albums often with the same songs. In the end, you keep wondering if you have another best-of of slightly different versions. This is what happens with “Well Gone In Europe.” Except if you’re a total and absolute completist, you can live without that one.


Frantic Flintstones – Take A Hike

Kix 4 U KIXCD3363 [1991]
Your Cheatin’ Heart – Dream On-Blue – Just A Dream – Sweet Nothings – So Sad – Little old Lady – Necro Blues – Burned’n’Turned – Rockin’ Bones – Frantic – Honey Maker – Gone Gone Well Gone – Blue Xmas – Santa Bring My Baby Back – Santa Claus Is Back In Town – Old Black Joe – Dream On-move

Even though the sound quality is quite good, this album is far from essential. Out of the 17 songs contained in this album, seven come from “Not Christmas Album,” three are re-recorded versions of Flintstones classics (Burned and Turned, Rockin’ Bones, Necro blues), and in the remaining seven new tunes, Dream On is featured two times (a slow one and a fast one). That said, the latest versions are excellent, the unissued tracks are great, the group is in fine form, and the Frantic Flintstones have released far worse than this album.
It’s a good album, but it’s more for completists.


Frantic Flintstones – Rockin’ With…

Rumble Records – GANG 011 [1991]
Tom Dooley – Gotta Know – Brown Eyed Girl – Therapy

Rockin with the Frantic Flintstones

Out of the four songs that constitute this EP, only Therapy is unissued, the other three being lifted from Cuttin’ A Fine Line. It’s a Doo-Wop tune with only Chuck, a vocal accompaniment by the band, and a light piano. You never know what to expect with the Frantic Flintstones, and that’s why they are great!


Frantic Flintstones – Cuttin’ A Fine Line

Rumble RUMBCD009 [1991]
Chilled bones – You’re the one who done it – Sweet Marilee – Jungle love – Time of day – You got me rockin’ – Tom Dooley – Gotta know – Brown eyed girl – Boneshaker baby – Slowly killing me – Don’t want you baby – Drug squad – West of London – Love me – Am I that easy to forget

Released at the dawn of the nineties for the German label Rumble Records (Scum Rats, Rockabilly Mafia, Punishers, etc.), “Cuttin’ A Fine Line” finds the band in superb form and marks the return of Gaz Day on bass with Rich Taylor on drums (Nitros), Pug still on guitar and of course the unmistakable voice of Chuck Harvey. This excellent album (one the very best ever released by the band) mixes classic psychobilly numbers (Chilled Bones, Don’t Want You Baby that features Gaz on lead vocals), blues (Time Of A Day), first-class rockabilly (You’re The One That Done It, Sweet Marilee, Gotta Know), skiffle (Tom Dooley) and some country songs like West Of London and Drug Squad that deals with one of Chuck’s favorite subject. The selection is rounded with two acoustic numbers (Elvis’Love Me and Am I That Easy To Forget), with only Pug and Chuck announcing their following album, the all-acoustic Skin Up, Chill Out, Just Buskin’ Through.


Frantic Flintstones – Skin Up, Chill Out, Just Buskin’ Through

Rumble RUMCD018 [1992]
Hello Marylou – Blue Moon of Kentucky – Will the Circle be Unboken – You Are my Sunshine – Tom Dooley – I Can’t Help it – Born to Lose – Goodnight Irene – It’s Hard to be Humble – Love me – Drugs in the Valley – Take me Home, Country Roads – I Gotta Baby – Am I That Easy to Forget

The only thing predictable with the Frantic Flintstones is that they are unpredictable. In this record, released initially on Rumble Records in 1992, the band, with only Chuck and Pug remaining, opted for an acoustic session. The mood is very laid-back, and the repertoire consists of covers of classic rockabilly and hillbilly tunes from artists such as Hank Williams, Mac Davis, John Denver, Ricky Nelson, Elvis, Johnny Cash, and The Carter Family. Although these are new versions, some of these songs have been recorded by the band before. This collection may not entirely represent the typical style of the Frantic Flintstones, but it is definitely a great addition to any music collection.


Frantic Flintstones – Flesh’n’Fantasy/My Woman Is A Leach

Tombstone Records – Tomb CD 2006 [1992]
My Woman Is A Leach – J.B. Boogie – Will The Circle Be Unbroken – So Close To Heaven – Out Of My Face – Lock Me Up – Fruit Batz – Don’t The Moon Look Lonesome (Lupo) – Sweet Nothings – Gone To The Dogs – Drugged Up Fool (Bonus Track) – Stiffies (Bonus Track) – Devils Rain (Bonus Track) – Fantasize – Fantasize You (Bonus Track) – Sub-Sic-Mental-Menial (Bonus Track) – Tom Dooley (C.D.B.) (Bonus Track) – Necro Blues ’91 (Bonus Track)

On this album, the Frantic Flintstones are Chuck, Pug, Jonny Bowler on double bass, and Rich Taylor on drums. You can also hear Gaz on three tracks from a previous session and Graeme “Captain Drugbuster” Grant.
The album starts with the excellent “My Woman Is A Leach.” After a neo-rockabilly interlude on the Rumble label, the Frantic Flintstones delve into more psychobilly sound, similar to The Nightmare Continues. This is followed by an instrumental that isn’t particularly original but showcases Jonny Bowler’s double bass skills. The next track is a rendition of the Country classic “Will The Circle Be Unbroken,” played over an almost Rocksteady beat. “So Close To Heaven” and “Don’t the Moon Look Lonesome” are two blues-tinged songs that highlight another, more demonstrative side of Pug. “Out Of My Face” is a typical Frantic Flintstones song, alternating between slow and fast parts. “Lock Me Up” is an unusual mix of Rockabilly and Samba on a House beat, which almost works, but the group abandons the track halfway through, leaving the rhythmic loop playing for too long.
The album continues with a pair of Psychobilly tracks (“Fruit Batz” and “Gone To The Dogs”) and a more Neo-Rockabilly tune, “Sweet Nothings.” Then, it moves onto a series of “bonus tracks.” The first is “Don’t Be Cruel,” transformed into “Drugged Up Fool,” which is neither original nor very good. More interesting are the three songs (“Stiffies,” “Devils Rain,” “Fantasize – Fantasize You”) on which Gaz Day plays and were produced and produced by Boz Boorer. These tracks represent the darker side of Frantic Flintstones, reminiscent of Nightmare Continues. “Sub Sic Mental Menial” is reminiscent of Demented Are Go (“One Sharp Knife”), with Chuck’s voice played backward. The album ends with “Tom Dooley” and “Necro Blues,” the latter coming from “Take A Hike.”
In the end, the album contains good songs, although none reach the status of the group’s classics. Still, “Flesh’n’Fantasy”/“My Woman Is A Leach” lacks the direction and homogeneity to rise to the rank of its illustrious predecessors.


Frantic Flintstones – Rock it Boy

Rumble RUMBCD024 [1993]
Marylou – You Call Everybody Darlin’ – You Ain’t Nothing But Fine – I Cant Trust Me In Your Arms Anymore – Carry Me Back To Old Virginia – Blues Stay Away From Me – Blue Moon Of Kentucky – Your Cheatin’ Heart – I’m Walkin’ – Sweet Baby Doll – Will The Circle Be Unbroken – So CLose To Heaven – Jimmy Jazz – Love For A Nutter – Broken Heart

Initially released in 1993, this is the third Frantic Flintstones album for the German label Rumble Records. And like “Cuttin’…” and “Skill Up…” it has a strong rockabilly flavor. The line-up for this one is Chuck, Pug, Johnny Bowler (Get Smart, Guana Batz) and Scag. Although the album lacks original songs, Chuck’s charismatic leadership and the solid backing band make up for it. The band covers songs by artists such as Jerry Lee Lewis, hence the presence of a piano, Ricky Nelson, Rockin’ Sydney, Johnny Burnette/Delmore Brothers, and Hank Williams. They also deliver an excellent rockabilly version of the Clash’s “Jimmy Jazz.” The album also includes different versions of previously released tunes, such as “Blue Moon Of Kentucky,” “Will The Circle Be Unbroken,” and “Your Cheatin’ Heart,” accompanied by backing vocals.
Additionally, “Love For A Nutter” is a demo recorded with Alan Wilson, foreshadowing the following albums (X-Ray Sessions and Jamboree) and the start of a fruitful collaboration.
However, Bowler’s lead vocal on “Broken Heart” is not among the Frantic Flintstones’ highest moments.
The album has been reissued on the British label Raucous Records with a slightly different cover.


Frantic Flintstones – Jamboree

CDMPSYCHO15 [1993]
Detroit Dirtbox – Love For A Nutter – Your Time Is Up – Mean Mean Woman – Diablo – Stay With Me – Sweet Georgia Brown – Lunatics (Are Raving) – Busted – Mindkill – (To The Devil)A Son – Oh 898 – Candyman – He’s Waitin’ – Sad N’ Lonely – Suspended – Chop-Chop, Slash Slash – Honey Child – Hey Chuck – Detroit Bloodbox

frantic flintstones jamboree

Produced by Alan Wilson of the Sharks, who also plays most of the guitar parts, with former bassist Gary Day back in the line-up, Jamboree is one of the three best albums the Frantic Flinstones ever made and probably the richest in styles approached.
Wilson is an outstanding guitar player and songwriter. His collaboration with Chuck Harvey is just perfect.The album features a variety of musical styles, from the surprising jazzy solo in “Diablo” to the country tune “To the Devil A Son,” and even a waltz in “Sad’n’Lonely”. It’s apparent that they had fun exploring various kinds of music.
The album also includes guest appearances. Detroit Donny plays harmonica on the bluesy instrumental “Detroit Dirt Box”, and on the cover of Roy Orbison’s “Candyman,” Sonny West plays some guitars and sings The Sonics’ “He’s Waitin’.” Wilson sings “Mindkill,” a song he co-wrote with Hodges. This song can be seen as the first song recorded by the Sharks reformation. It is during these sessions that Gaz Day convinced Alan Wilson to reform the group with him on bass.
The album features psychobilly, of course, with”Your Time Is Up,” which is reminiscent of “What The Hell” on their debut album, “Sweet Georgia Brown” (not the jazz standard), and the great “Love For A Nutter,” although I do prefer the rawer sounding demo version issued on “Rock It Boy.” Add a bit of rockabilly (“Honey Child” and “Mean Mean Woman”)
If you still wonder why the Frantic Flinstones are so great, just ask yourself who could sing a song about a psycho killer better than them, like a sixties pop ballad.

The Radioactive Kid

Lost Souls (the)

Lost Souls (the) – Erazer Head

Tombstone Records Tomb-Disc 698 [1991]
True Love – Dead Or Alive -(Get Me To The) World On Time – Hell Train – Spiral Dreams – Angel Of Death – Lysergic Acid – Erazer Head – Tomorrows Fool – S.O.A.P.Y – Witch Hunt – Doctor Death

lost souls - erazer head

Released shortly after their debut album, Erazer Head showed some changes in the sound of Lost Souls. The group’s sound has asserted itself, mainly the guitar, which has a more Metal tone and takes a more prominent place than on Chasin’ A Dream. The album also benefits from a better production. Roughly, one could say that if Chasin A Dream was close to the Mark Cole era Krewmen, Erazer Head is closer to Tony McMillan’s Krewmen. We can also hear the influence of emerging groups such as Nekromantix. This influence is also felt in the compositions, notably the two-part vocal parts of Hell Train. Overall, the sound has toughened up, making the group more aggressive and “in your face”. Likewise, the group introduces changes and breaks in rhythm (Spiral Dreams, Lysergic Acid), which bring the Psychobilly of Lost Souls into the 90s. Broome really delivers on double bass, ideally supported by the drums that followed the general evolution with a fat sound (and sometimes bordering on Punk). In the end, Lost Souls delivers an excellent nervous Psychobilly album, very representative of its time.


Lost Souls (the) – Chasin’ A Dream

Nervous Records NERD054 [1990]
Chasin’ A Dream  All Day And All Of The Nigh – Prisoner Of Love – Dancing With Myself – Still Feel The Pain – Only One For Me – Dead Stay Dead – Devil in Disguise – Surf Bitch – She’s Gone – Skid Row – Never Gonna Stop – Death Bone Alley – Lost Souls

Lost Souls

Lost Souls began in the mid-80s as a four-piece band. They then evolved as a trio and were discovered by Roy Williams, who sent them to Madhouse studio to record their debut album produced by Mickey Mutant (Meteors, Coffin Nails, Restless). The lineup on this album consists of Mark Broome on double bass and vocals, Neal Hattersley on guitar and vocals and Ian Lydell on drums.
Released in March 1990, Chasin’ A Dream is very representative of the Psychobilly sound of the era, namely a wicked and raspy voice, a light electric guitar (sometimes similar to the early Frantic Flintstones) and a powerful rhythm section led by an even more powerful and fast slap bass. 
The majority of this album is rather good and very pleasant, with excellent compositions. Moreover, the group has a good idea to add covers that have not been played ad nauseam, such as Billy Idol’s Dancing With Myself and The Kinks’ All Day And All Of the Night.
There are a few weaker songs and a bit repetitive, but it’s a detail, and the whole thing is more than successful.

lost souls

Polecats (the)

The Polecats – Live’n’Rockin’

Link Records – LINKMLP 069 [1988]
Pink & Black – Blue Jean Bop – Rockabilly boogie – Hip hip baby – We Say Yeah – Runnin Back – Miss Bobby Sox

Polecats - live'n'rockin

It’s a way too short live album from the Polecats. One can wonder why Link didn’t release a whole show, considering the band probably had one in its archive. The sound is good without being overwhelming; the double bass, in particular, lacks a little depth, and the drums are not too present in the mix. That said, it is very well-played and very catchy too. The group overflows with youth’s exuberance, allowing certain vocal approximations to pass (for example, We Say Yeah). The group also knows how to be wild on certain songs, notably their cover of Rock-Billy Boogie by Johnny Burnette. All the songs are covers (Benny Joy, Gene Vincent, Dennis Herrold, Sonny Fisher, Cliff Richard & the Shadows) except for Runnin’ Back, which was composed by Boz Boorer and comes from Polecats Are Go.

Fred “Virgil” Turgis

Nekromantix (the)

Nekromantix (the) – Curse Of The Coffin

Nervous Records – NERCD 063 [1991]
Devil Smile – Curse Of The Coffin – S/M – Motorpsycho – Alice In Psycholand – Way Down To Hell – Howlin At The Moon – New Born Son Of Satan – Save My Grave – Survive Or Die – Part2 – Drugshock – Rockin’Reptile – Mama Don’t Allow

Nekromantix curse of the coffin

The Nekromantix formed in the late eighties. They quickly gained a considerable reputation with their psychobilly-meets metal with a touch of Goth. This reputation reached another level with the release of their debut album on Tombstone Records. The next step was signing with Roy Williams and Nervous Records. The result was one of those albums that changed the face of Psychobilly. Superbly produced by Micky Mutant, aka Pete Gage (who worked with the Meteors, Demented Are Go and Restless), Curse of the Coffin redefined the word Psychobilly (for better and for worse) at the dawn of the nineties.
With Kim Nekroman(real name Kim Gaarde) at the helm, slapping his coffin bass at a supersonic pace, Peter Sandorff playing a mean guitar that owed more to speed-metal shredders than Cliff Gallup or Paul Burlison, and Peek giving the beat, the Nekromantix unleashed a wild beast upon the Psychobilly world.Albeit fast, even ultra-fast, their brand of Psychobilly always remained tuneful and melodic. That aspect resides in the special treatment given to the vocals, with interactions in the form of questions and answers between Kim Nekroman and the band, the latter being an essential part of the singing. The songs are very well-written and don’t seem to have been heard trillions of times.
After the pioneers (Meteors, Ricochets, Sharks…) and the second wave of Psychobilly that still had its two feet firmly anchored in the Rockabilly idiom, the Nekromantix personified the new wave of bands that included more and more metal elements with only the slap bass to echo their Rockabilly roots.

Nekromantix
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