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Rockabilly

Janis Martin

Janis Martin – The Blanco Session

Cow Island Music – CIM020
As Long As I’m Movin – Wham Bam Jam – Long White Cadillac – Wild One – It’ll Be Me – Sweet Dreams – Find Out What’s Happening – I Believe What You Say – Roll Around Rockin’ – Oh Lonesome Me – Walks Softly On This Heart Of Mine

janis martin

After years of hard labor, Rosie Flores finally managed to take Janis Martin back to a recording studio to cut new material. Martin and Flores already recorded together when Flores invited her to sing two songs on her Rockabilly Filly album. Thus, in just two days in April 2007, she found herself at Dennis Challman’s Rancho Relaxo studio in Blanco, Texas, with a cast of stellar musicians from Austin. These included Dave Biller (Biller & Wakefield, Wayne Hancock, Dale Watson), Sarah Brown (The Memphis Rockabilly Band), T Bonta (Horton Brothers, Cornel Hurd Band, and many more), Beau Sample (Cave Catt Sammy), Jonathan Doyle (Four Charms). Together, they recorded eleven tracks co-produced by Bobby Trimble. This album could have been – or should have been – Martin’s comeback album; sadly, the singer succumbed to cancer at age 67 shortly after the sessions.
Anyone lucky enough to see Martin on stage in the years preceding her passing can attest that she had aged wonderfully. Those recent recordings had nothing to envy to her 50s sides. In that she is comparable to Ronnie Dawson. Her voice had gained a deeper tone. The recorded material covered various styles, from blues to country, rhythm’n’blues to rock’n’roll, with plenty of rockabilly in between.The passing of such a great artist was an incomparable loss, but courtesy of the tireless effort of Miss Flores, we have this album, which is the best way to remember her, doing what she did best among musicians who loved her.

Fred “Virgil” Turgis

Francine

Francine – Shake My Bones

My Way WAY 1203 [1989]
Shake My Bones – Sweet Lovin / Little Girl of Mine – Alley of Sorrow

francine

Francine was formed in 1987 with Pete Salomaa on bass, Mika Jokinen on vocals and guitar, and Esa Nurminen on drums. The name of this Finnish band was inspired by the song “Francine” by ZZ Top. After recording a demo, Tude Usvalla joined the band on drums in 1989. Jari Paksuben completed the lineup when he joined Francine on rhythm guitar, and Mika switched from electric to double bass.

The band quickly gained recognition and was offered a contract by My Way Records. This led to the recording of their debut EP, which was released in the fall of 1989.

The title track is a fantastic Neo-Rockabilly song reminiscent of Stray Cats and Polecats with modern touches similar to Long Tall Texans. “Sweet Lovin’” is a softer, more melodic, and almost acoustic track with a swinging rhythm and a jazzy touch. “Little Girl Of Mine” may be less original, but the punchy double bass and jerky rhythm will please fans of the genre. The EP concludes with “Alley Of Sorrow,” a superb Jazzy Rockabilly track that can be likened to “The Best Way To Jive” by the Wild Ones and “The Midnight Special” by the Nitros.

Official website.

Fred ”Virgil” Turgis

Sandy and the Wild Wombats

Sandy and the Wild Wombats – The Girl Can’t Help It

Jazztank – TANK 15102 [2015]
The Train Kept A-Rollin’ – Wild One (Real One Child) – Casting My Spell – The Girl Can’t Help It – Have Love Will Travel – Sleepwalk – Drivin’ My Life Away – Riot In Cell Block #9 – Please Don’t Touch – Hoy Hoy – Got A Lot o’livia’ to Do – The Ballroom Blitz

Sandy and the Wild Wombats

Sandy and the Wild Wombats are a German combo led by Sandy, a young girl with a sandpaper voice reminiscent of Wanda Jackson and Kick ’em Jenny. The Wild Wombats consists of Mark Twang on guitar, Marvell Storm on double bass, and Matty Stroke on drums.
This album features only covers, but the band’s renditions of those songs are pretty personal. Although I typically prefer bands that perform their original songs, it’s not a major issue in this case.
Additionally, Sandy and the Wild Wombats benefit from a strong rhythm section and an exceptional guitar player who has developed a unique style blending 1950s guitarists with influences from 1960s bands like the Sonics and the Pirates (and I wouldn’t be surprised if he’s also a fan of Paul Fenech). When combined, this mix is quite explosive.
The set mostly features wild rockabilly, but it also includes slower songs, a country-tinged number, and rockabilly renditions of glam rock, offering something for everyone.

The album was later reissued on vinyl by Bear Family with an extra track, an excellent cover of the Guana Batz‘s Electra Glide In Blue.

Fred ”Virgil” Turgis

Jessie Lee Miller

Jessie Lee Miller – Now You’re Gonna Be Loved

Self-released [2006]
Now You’re Gonna Be Loved – Pennies On the Railroad Track – You Told Me a Lie – Invitation to the Blues – All or Nuthin’ Gal – Honey, Honey – Because of a Lie – Cryin’ Alone – Not For Nothing – Haunted by the Memory – It’s a Lonely World – Ten Tons of Love – You Are My Sunshine

Jessie Lee Miller

Produced by Sean Mencher of High Noon fame, Jessie Lee Miller’s debut album features a talented lineup of musicians, including Tom Umberger (Kim Lenz, The Racketeers, The Stumbleweeds, Gina Lee and the Brisket Boys) on guitar, Cindy Cashdollar (Asleep At The Wheel, Leon Redbone) on steel, Paul Ward on drums (Cave Catt Sammy), Ryan Gould on bass, and Basil McJagger (the Dreailers) on piano and accordion, as well as the Two Timin’ Three on one track.
The album includes eight original songs and two previously performed by High Noon. The opening track, “Now You’re Gonna be Loved,” has a western swing rhythm, featuring guest guitarist Olivier Giraud (81/2 Souvenirs, Paris 49), who provides a fine chorus in a tremendous gypsy jazz style. Another standout track, “Not For Nothing,” is rearranged with an accordion and showcases Jessie’s falsetto. Jessie Lee Miller wrote three songs that demonstrate her versatility songs: “Pennies On The Railroad Track,” is a Honky Tonk ala Patsy Cline that suits her bass voice very well; “Cryin Alone” is a jazzy ballad with a muted trumpet, and “It’s A Lonely World” an uptempo tune.
Tom Umberger also contributed three songs to the album. If you liked the songs he wrote for the first Stumbleweeds album, you’ll love the three he penned for Jessie Lee, especially “Honey, Honey” and its Honky Tonk piano part.
Additionally, the album features songs from Cindy Walker, Roger Miller, and Jimmy Davis.

Goofin Records also released this album with one additional track.

Fred ”Virgil” Turgis

jessie lee miller

Stray Cats

Stray Cats, neo-Rockabilly legends, formed in 1979, by Brian Setzer on guitar and vocals, Lee Rocker on double bass and Slim Jim Phantom on drums.

Stray Cats – Runaway Boys

Arista – SCAT 1 [1980]
Runaway Boys / My One Desire

Runaway Boys

For a first attempt, the Stray Cats, with their debut single, achieve a masterstroke. Lee Rocker’s hypnotic double bass and Slim Jim Phantom’s powerful, clear beat open the track, quickly followed by Brian Setzer’s razor-sharp guitar. Dave Edmunds’ perfectly adequate production tells us we are in 1980, not 1956. The lyrics also have nothing to do with any nostalgia. The song deals with an adolescent frustration closer to Punk than to the fantasized rebellion of the 50s. The Stray Cats use the codes of their parents’ music but anchor it in their era. In this, the Stray Cats pose as a fiery response to artists like Robert Gordon, who, despite their quality, play in marked territory. That said, tradition is never far away, as proven by the B side, a perfect cover of Ricky Nelson’s My One Desire.
With the passion and recklessness of youth, the Stray Cats take Rock’n’RollRock’n’Roll and Rockabilly, a 25-year-old recipe, and take them to the next level, making this music current and relevant to the generation of Punk and New Wave.


Stray Cats – Stray Cats

Arista [1981]
Runaway boys – Fishnet stockings – Ubangi stomp – Jeanie jeanie jeanie – Storm the embassy – Rock this town – Rumble in Brighton – Stray cat strut – Crawl up and die – Double talkin baby – My one desire – Wild saxaphone

Stray Cats

In the late ’70s, a trio of three young Rockabilly cats dug in their parents’ records collection. Without any complex and a good dose of naivety, they took 25-year-old music and made it sound fresh again (which led to a certain animosity from the purists.) Sure they liked Cochran, Vincent and Burnette, but they also grew up in New York during the heydays of Punk music.

The construction and the progression of the album itself are faultless. A-side opens with the hypnotic beat of “Runaway Boys” and ends with the rockin’ hymn “Rock This Town”. In between, two covers get the Stray Cats treatment (Warren Smith’s “Ubangi Stomp” and Cochran’s “Jeanie, Jeanie, Jeanie”) and two original songs. Of course, “Fishnet Stockings” is similar to Lew Williams’ “Bop Bop Ba Doo Bop”. That’s obvious. “Storm The Embassy” is a solid rocker but have nothing to do with rockabilly (actually Setzer played it in his previous band “The Bloodless Pharaohs” under the name “Boys Having Babies” and with different lyrics). The song is rather political and refers to the Iranian crisis and American hostages in the late ’70s. With a song so closely linked to the actuality, it didn’t allow them to perform it on stage long after 1981, which is a pity because, musically speaking, it rocks (listen to the live bootlegs issued from this period).

The B-side is more or less built on the same structure. The wild (also with a hypnotic riff) “Rumble In Brighton” opens the show. Depending on the pressing, one can hear Setzer yell “Ein, Swei, Drei, Vier” to open the tune, but you have to listen closely.

The origins of “Stray Cat Strut”, which became their signature song, were subject to questions. Of course, it’s the same chord progression as “Hit The Road Jack” and some advanced “Icky Poo”, an instrumental by the Nomads or “Lonely Travelin’” by Lonesome Lee as possible sources. But these are somewhat obscure songs, especially in the late ’70s, and it neglects the fact that Setzer grew up in New York and, as we said, was a Punk fan in his youth. That’s why I believe that the origin of Stray Cat Strut is to be found in Richard Hell’s Blank Generation (a band that often had as a support act the Bloodless Pharaohs). Listen to the guitar solo from Robert Quine and the “Woo-Woo” in the middle. It’s all here. Anyway, the band put enough of them to make it a great number and one of the highlights of their shows.

Crawl Up And Die” is a variation on Bill Allen and the Back Beats’ “Please Gimme Something” and shows another side of Setzer’s voice, the torrid one. The covers on this side are Ricky Nelson’s “My One Desire”, Vincent’s Double Talkin’ Baby and Roy Montrell’s “Mellow Saxophone” renamed here “Wild Saxophone.” Slim Jim Phantom provides a solid beat and Gary Barnacle (who played with the Clash) on sax. Brilliant.


Stray Cats – You Don’t Believe Me

Arista – SCAT 4
You Don’t Believe Me / Cross That Bridge

stray cats you don't believe me

After their debut album, the Stray Cats added a solid dose of Blues in their Rockabilly, resulting in Gonna Ball, an excellent but too often underrated album. You Don’t Believe Me, the A-side, comes from the album. It’s an Elmore James-inspired blues with a lot of slide guitar. The band played it on stage briefly, sometimes with Setzer playing a Stratocaster.The flip-side didn’t appear on the album (at least the European version). It features a harmonica and has the same groove as Jimmy Reed’s Shame Shame Shame, then evolves for the guitar solo to something close to Wicked Whisky, which probably explains why the band didn’t include it on the album.


Stray Cats – Down Town (Cross That Bridge)

Arista – 7RS-22
Down Town (Cross That Bridge) / Stray Cat Strut

This single is a Japanese-only release featuring “Cross That Bridge” on side A. Interestingly, the song is named “Down Town” on the cover and “What’s Going Down” on the label. The song was used as background music for a TV commercial promoting the Toyota Celica in Japan, which explains why it was released as a single. In Europe, the song was only a B-side. The sleeve includes the lyrics.
A special limited version was also released with the car on the cover and was given for free to customers at Toyota shops. This version is highly sought after by Stray Cats collectors. This version is very sought after by Stray Cats collectors.


Stray Cats – Little Miss Prissy

Arista – SCAT 5 [1981]
Little Miss Prissy / Sweet Love On My Mind – Something Else

Little Miss Prissy comes from Gonna Ball and shows the influence of Chuck Berry. The B-side features two unissued live tracks recorded in November 14th, 1981 in Newcastle: Johnny Burnette’s Sweet Love On My Mind and Eddie Cochran’s Something Else; both played in a wild and punkish manner.


Stray Cats – Gonna Ball

Arista [1981]
Baby Blue Eyes – Little Miss Prissy – Wasn’t That – Good Cryin’ Shame – (She’ll Stay) Just One More Day – You Don’t Believe Me – Gonna Ball – Wicked Whisky – Rev It Up and Go – Lonely Summer Nights – Crazy Mixed Up Kid

stray cats gonna ball

Following the massive success of their debut album, at least in Europe, the Stray Cats took a break in their heavy touring schedule. In August 81, they flew to Air Recording Studios in Montserrat in the East Indies to record their second album. This time the band took over the production duties with the help of sound engineer Heinz Hoven. The presence of prestigious guests augmented the trio. It included veteran Lee Allen (Little Richard, Fats Domino, Smiley Lewis and later The Blasters) on sax and Ian Stewart (Rolling Stones) on the keyboard. Helped by that prestigious line-up, they played a bluesier form of rock’n’roll rather than the modern Rockabilly they were known for.

Half of the album consists of blues or blues-influenced songs. “Rev It Up and Go” and, to a lesser extent “, Little Miss Prissy” are obviously influenced by the great Chuck Berry. “You Don’t Believe Me” shows the influence of Elmore James with Setzer on slide-guitar. “Wasn’t That Good” proves that they are more than able to deliver a good jump blues (which they’ll later confirm with “Look At That Cadillac” and Lucky Charms”) and “Cryin’ Shame” features a fine harmonica part. Only “(She’ll Stay Just) One More Day” sung by Lee Rocker sounds weak and artificial. Though it features a nice organ part, the song is not great and Lee at that time wasn’t the singer he is nowadays.

Of course, there’s also some solid Rockabilly with Johnny Burnette’s Baby Blue Eyes and the raw Gonna Ball (actually a remake of the Wheels’ Let’s Have A Ball). The album also features one instrumental titled “Wicked Whisky”, which also cut as a vocal track under the name “Cross That Bridge” as a b-side and on Japan pressings. “Lonely Summer Night” proves that Setzer can top the greatest ballads of the ’50s, and “Crazy Mixed-up Kids” ends this album at a frantic pace.

This blues orientation confused the fans, and the “Gonna Ball” was only a semi-success compared to “Stray Cats”.


Stray Cats – Built For Speed

EMI [1982]
Rock This Town –  Built For Speed –  Rev It Up & Go – Stray Cat Strut –  Little Miss Prissy – Rumble In Brighton –  Runaway Boys –  Lonely Summer Nights – Double Talkin’ Baby – You Don’t Believe Me – Jeannie, Jeannie, Jeannie – Baby Blue Eyes

stray cats - built for speed

By 1982, the Stray Cats finally achieved success in their own country which led EMI to release this compilation featuring 6 tracks from their debut album, five from Gonna Ball and one new song, the title track, a great country-rockabilly.


Stray Cats – Look at that Cadillac

Look At That Cadillac / Lucky Charm [1983]
Arista 106-271

This is the 7″ that started it all for me. I still clearly remember the day I bought it with my older brother back in 1983 (I was 10, man, how time flies). The A-side is a classic jump blues with saxes and piano. Good song, if not very original, with Setzer talking about how hard he needs a Cadillac. “Look At That Cadillac” pleased me for sure, but the real jewel was on the B side. “Lucky Charm (oh Wee Suzie)” was – and still is – one of the best songs the Stray Cats ever wrote. Setzer’s voice is perfect. It looks like the curse of the great guitar player, as sometimes no one pays attention to their vocals. The song was probably recorded during the same session, as the saxes and piano are still here. This one is more a swingin’/rockin’ tune with every musician taking a hot solo each, especially a very inspired boogie-woogie part by Geraint Watkins (Crazy Cavan, Shakin Pyramids, and many others) and at the end, a short slap bass break. And at this moment I thought, “Woah! That’s what I want to hear!!!”. And now, more than 20 years later, I still listen to this single with great joy. I guess this is the power of the 45.


Stray Cats – Rant n’ Rave

Arista / EMI [1983]
Rebels Rules – Too Hip Gotta Go – Look At That Cadillac – Something’s Wrong With My Radio – 18 Miles To Memphis – Sexy & 17 – Dig Dirty Doggie – I Won’t Stand In Your Way – Hot Rod Gang – How Long Do You Wanna Live Anyway

Following the success of Built For Speed, the Stray Cats reunited with Welshman Dave Edmunds in 1983 to record “Rant & Rave” in London. They opted to return to what made their success and went back to their rockabilly roots (with an exception or two) after the blues-inspired “Gonna Ball”.

Rebels Rule” is an excellent choice to start the selection. With a strong Diddley Beat, Slim Jim playing like a madman on his toms, and Setzer yelling, “Rock’n’Roll is never too loud!” the pace is quickly set. The Stray Cats are back!

The next one, “Too Hip Gotta Go”, is a good rockabilly and shows Setzer ability on the strings. A fun one to play (see the time Setzer takes to explain it on his instructional video), it’ll remain in their live setlist for a very long time. “Look At That Cadillac” is a fine jump blues with juicy saxes and piano. Though it’s more a “sax” tune, Setzer plays an exciting rhythmic pattern in the background.
Sexy & 17” opens the b-side. It’s a good song with a solid solo, and it’ll make its niche in the charts. Inspired by Roy hall’s Diggin’, the Boogie, “Dig Dirty Doggie”, is one of their most rockabilly effort with huge slap bass.

The style changes with “I Won’t Stand In Your Way”, a delicious ballad with a doo-wop arrangement. The band is joined by the vocal group 14 Karat Soul for this song. An acapella version exists too.

Hot Rod Gang” was undoubtedly written with Gene Vincent in mind and features a fine Cliff Gallup influenced solo. The album ends with “How Long You Wanna Live Anyway?” the closest thing to Psychobilly the Stray Cats ever played with heavy guitar and pounding drums.

With ten songs and not a weak track, the Stray Cats star rose high. Sadly one year after the release of Rant & Rave, the band disbanded, and though they made different come-back with some solid songs and albums, this is the end of the golden age of the Stray Cats.


Stray Cats – Rock Therapy

EMI [1986]
Rock Therapy – Reckless – Race With The Devil – Looking For Someone To Love – I Wanna Cry – I’m A Rocker – Beautiful Delilah – One Hand Loose – Broken Man – Change Of Heart

stray cats rock therapy

By 1986 each member of The Stray Cats was deeply involved in his solo stuff. Setzer had released his first solo album, “The Knife Feels Like Justice”, in a John Cougar vein at the beginning of the year. Lee and Jim teamed with David Bowie’s guitarist Earl Slick in Phantom, Rocker and Slick for two albums if far to be exceptional contain some interesting things if you’re curious or nostalgic of the ’80s (and dig crazy hairdos). But the three of them were tied to EMI with, according to Setzer, a bad contract. The best way to solve it was to record this album.

So from the start, it wasn’t really a “new” Stray Cats album. One can suppose that they logically wanted to keep their best material for their solo career. This also explains why half of the songs are covers. But this album has its good moment, and even a half-successful Stray Cats album is better than 90% of the rest. The five covers are very well done, the best being Gene Vincent’s Race With The Devil. But it’s true that, except for Charlie Feathers’ One Hand Loose, the band is in a well-known territory with Johnny Burnette, Buddy Holly, Gene Vincent and Chuck Berry (the trio often played “Beautiful Delilah” on stage around 1982).

Things are a bit different when it comes to the band’s songs. Setzer’s own “Reckless” shows the influence of his solo stuff and announces with an advance of 5 years how the Stray Cats would sound on Let’s go Faster. “Broken Man” is far better with its banjo. Setzer had already toyed with the banjo on stage, playing tunes like “Foggy Mountain Breakdown”, which can be heard in the solo part. Phantom and Rocker provide “I Wanna Cry”, sung by Lee, that owes more to their solo stuff than the Stray Cats. And when I listen to the guitar solo (a crappy heavy metal mush), I wouldn’t swear that Setzer plays on it but blame Earl Slick for it. Finally, the three join forces to write “I’m A Rocker”. Nothing original here, just a solid rocker with a strong train rhythm and two wild guitar solos, but that’s enough. “Change Of Heart” is different from what the Stray Cats ever released, more pop, but eventually very pleasant. After this session, they returned to their respective solo career but quickly reformed the Stray Cats, this time for good, in late 1988.


Stray Cats – Bring It Back Again

EMI 12MT 62 [1989]
Bring It Back Again – Runaway Boys (live) – I Fought The Law

Stray Cats – Bring it Back Again 7″

Bring It Back Again” was co-written with Jonnie Barnett (real name Jonathan Barnett Kaye – 1946-2002). Jonnie Barnett was a singer and songwriter who began his career as a solo guitarist opening for Cheech and Chong, Frank Zappa, Eric Burdon of The Animals, Ronnie Milsap, Dion, Tom Rush, Hank Williams Jr. and others. For the last 18 years of his life, he became a well-known songwriter on the Nashville music scene. He wrote songs for Etta James, Johnny Adams, Dobie Gray, Clay Walker, Hank Williams Jr., Eric Burdon, Irma Thomas, Dan Penn and many more.

The B-side features a live version of Runaway Boys (recorded at the Ritz on October 18, 1988.) and a studio version of I Fought the Law. According to some early promo sheets, I Fought the Law was considered for the album (Blast Off) but didn’t make the final list. This version, produced by Dave Edmunds, is far superior to the slicker one recorded a couple of years later at Virgin Convent Studios in Los Angeles for “Original Cool”.

Bring It Back Again” was performed live during the 1989 tour, the 2004 reunion tour, some dates in 2007 and during the 2008 farewell tour (and this time Lee sang it lead).

Lee Rocker also performs this one during his live shows.

The single peaked at #35 in the US Rock charts and #64 in the UK.


Stray Cats – Gina

EMI USA – MT 67 [1989]
Gina – Two Of A Kind – Stray Cat Strut (live)

gina

Though it seems written explicitly for the Stray Cats by the Paine Brothers (who wrote several songs for the Rockats), this song had a long journey before ending on the band’s fifth album.
Then, three years later, in 1984, Josie Cotton recorded it for her second album, “From the Hip”, also produced by Bobby and Larson Paine. Eventually, the Stray Cats finally covered it in 1989 for “Blast Off” and slightly adapted the lyrics. They accentuated the Buddy Holly feel with Slim Jim adding a tom to his drumkit to emulate a Jerry Allison pattern.It remained a favourite of their live set, sometimes performed acoustically.

The B-side is one of the Stray Cats hidden gems. It’s a superb rocking ballad and proves that the band’s B-sides are often superior to the others’ A-side. The first EMI promo sheets show it was considered to be included on “Blast Off”, though it was later dropped, maybe because it was too similar to Nine Lives.

The maxi version also featured a live cut of Stray Cat Strut, recorded at the Ritz in October 1988, and a poster.


Stray Cats – Blast Off

EMI [1989]
Blast off – Gina – Everybody needs rock n roll – Gene and Eddie – Rockabilly rules – Bring it back again – Slip slip slippin in – Rockabilly world – Rockin’ all over the place – Nine lives

stray cats blast off

In 1988, after respective solo careers not entirely convincing – to say the least – Setzer, Phantom, and Rocker reunited and returned to what they do the best: rockabilly. Even the fourth Stray Cat (like George Martin could be the fifth Beatle) Dave Edmunds was back in the producer’s seat. Slim Jim Phantom said, “It’s probably our most rockabilly effort”, and he’s right. Rockabilly with a modern edge and a 90’s sound, but the backbone is here. They cover Eddie Bond’s “Slip, Slip Slippin’ In”, and half of the songs borrow from 50’s rockabilly tunes. “Gina” is a Buddy Holly influenced song with Phantom adding a floor tom to get the Jerry Allison pattern. “Blast Off” sounds like “Jungle Rock” on speed but has good enough lyrics to be original. “Everybody Needs Rock’n’ Roll” bears more than one common point with Glen Glenn’s Everybody’s Movin. And of course, “Gene And Eddie”, Setzer’s tribute to these two pioneers, is very effective if not very original (the song is made of various verses from Vincent and Cochran songs). “Rockabilly Rules, Ok” – the title says it all – and “Rockabilly World” reinforce the rockabilly orientation. You also have a clear attempt to chart with the more commercial “Bring It Back Again” lifted as a potential single (sadly, it’ll fail to climb very high). The best track is “Nine Lives”, a jazzy variation around “Stray Cats Strut”, with clever lyrics, outstanding guitar solo and vocal from Setzer. Indeed this album marks a turning point in Setzer’s vocal. He seems more confident in his talent as a singer, and his voice has gone more profound and more mature. This album may suffer the lack of powerful hits (like Stray Cats Strut, Rock This Town or Runaway Boys) and originality (four songs with the word Rock in the title might sound a bit cliché).

Nevertheless, it’s a solid rock album, very well produced and most of all, the listener can feel the fun and the joy to play together. The gigs to promote this one were good, energetic and fans had big hopes for the next album. Alas, a big disappointment was waiting for them.


Stray Cats – Let’s Go faster

Liberation records D30519 (AUS) [1990]
Toshiba-EMI TOCP 6520 (JAP)

Cross of love – Town without pity – Shotgun baby – Struck by lighting twice – Thing about you- Baby don’t drag me down – Tight black leather – Give it to me – Let’s go faster – Keep on running – Runaway train – Gonna be your rock (Japan only)

stray cats - let's go faster

We wanted to try something new” is what Setzer said in 1991 about this album. Probably disillusioned by the lack of success of “Blast Off”, the Stray Cats hired producer Nile Rodgers (Chic, David Bowie, Madonna…). On the paper, this association sounded quite weird. In reality, it was even worse. At best, the result sounds like Setzer solo stuff (and some songs come from his solo period: Cross Of Love, Thing About You), and at worse, you have bad and already out of fashion 80’s new wave. Very little can be saved from this wreck: “Let’s Go Faster” (nothing original but a solid rock song with a riff ala Eddie Cochran), “Give It To Me”, another one written with Buddy Holly in mind and on the contemporary side “Keep On Running”. The remaining songs are mostly weak, and the production is weaker. Looking for a modern (and a chart appealing) sound, the band has lost its identity and specificity. The result is the absence of the slap bass (replaced by an electric bass), a key element of their sound the same way the Gretsch and the stand-up snare are. The band was probably disappointed by the result and issued “Let’s go Faster” only in Japan and Australia. Later a bootleg album appeared with the demos. The lame songs stayed lame, but at least the good ones weren’t wasted by the production.

The Japanese edition has a bonus track called “Gonna Be Your Rock”, which is, in my own opinion, in a good place for the title of “Worst Stray Cats song ever”.


Stray Cats – Struck By Lightning

Liberation Records – K10340 [1991]
Struck By Lightning / Give It To Me

stray cats - struck by lightning

This 1991 single was released in Australia only. Struck By Lightning is a heavy rocker, with a threatening riff, maybe closer to Setzer’s solo stuff than the Stray Cats, but that remains a solid song. The B-side is Give It To Me, a lighthearted love song, that sounds like a modern version of Buddy Holly. Both songs were played by the trio during its 1990-1991 tours. One can find on Youtube an amazing live version of Struck By Lightning in Tokyo and of course Give It To Me was captured on video for Rock Tokyo.


Stray Cats – Choo Choo Hot Fish

Pump Records – 50286 [1992]
Elvis On Velvet – Cry Baby – Please Don’t Touch – Sleepwalk – Lust’n’Love – Cross Of Love – Beautiful Blues – Can’t Go Back To Memphis – Jade Idol – My Heart Is A Liar – Let’s Go Faster – Mystery Train

Choo Choo Hot Fish

“Choo Choo Hot Fish” can be seen as the successful version of “Let’s Go Faster”. It is innovative yet still with a feet in the tradition and is their most ambitious effort to date. It also sees the return of Dave Edmunds behind the glass.

The opening track is representative of that mood, pumping sound, modern drums mixed with rockabilly elements for a tribute to Elvis. Next is “Cry Baby”, a non retro melodic rockabilly tune. It is an instant Stray Cats classic and has that timeless sound that makes the trio so special. And with Edmunds on second guitar and on duet vocal it reminds the good old days of “The Race Is On”.

Johnny Kidd’s Please Don’t Touch rocks like hell in Setzer and Rocker setlist in their respective solo careers. Santo and Johnny’s “Sleepwalk” appears here for the first time, long before the orchestra and the Grammy Award. Though I grew rapidly tired of the heavy orchestra version, this one still sounds fresh today.

Both “Lust’n’Love” and “Can’t Go Back To Memphis” harden the sound with heavy guitar and Jim hittin’ the drums as hard as he can. “Lust’n’ Love” keeps the backbone of rockabilly while “Can’t Go Back…” is not that far from ZZ Top and it’s very interesting to listen to this album today and compare it with Setzer’s most recent albums (“Nitro Burnin’ Funny Daddy” and “13”). Many elements were already presents 15 years earlier. In the same vein is “Cross of Love”. I suppose that Setzer saw a lot of potential in this one as he recorded it twice before this album (once on “Let’s Go Faster” and once during his first solo stint between 86-88).

The best song to appear on “Choo Choo Hot Fish” is “Beautiful Blues” co-written with Larson Paine. It’s a splendid jazzy song with rich gipsy chords, astounding solo and superb brushwork from Slim Jim. Don’t be fooled by the apparent simplicity of his drumkit this guy can really play. “Jade Idol” proves it too. This is a stunning atmospheric instrumental that would fit a James Bond movie to perfection. My definition for this kind of tune is “Music to drink Martini with…”. “My Heart Is A Liar” is a fine acoustic ballad in the vein of Chris Isaak with once again a rich assortment of percussion. The last two numbers are solid rockers.

A new version of “Let’s Go Faster” far better and richer than the previous one (courtesy of Dave Edmunds and his good sound) and a “Hey we have 5 minutes left in the studio how about doing a Elvis song?” version of Mystery Train. They clearly recorded this one live and it perfectly captures the feel and the excitement of the band. It also features a yodel part from Mr Setzer. Funny to see an album opening on Elvis On Velvet and ending on Mystery Train.

Sadly, “Choo Choo Hot Fish failed to reach a large audience.


Stray Cats – Original Cool

Toshiba [1993]
Somethin’ Else – Oh Boy – 20 Flight Rock – I Fought The Law – Lonesome Tears – Your True Love – Be-Bop-A-Lula – Blue Jean Bop – Can’t Help Falling In Love – Flying Saucers Rock ‘n Roll – Train Kept A Rollin’ – Stood Up – Let It Rock – Trying To Get To You – Chet Ditty (Hidden Charms)

original cool

The Stray Cats last studio album was a bit of a disappointment. Of course, Setzer gives some of his best vocal performances (listen to Ricky Nelson’s Stood Up), and the band is on top form (with Jeffrey Baxter guesting on steel guitar). Even the production, though a bit slick, is not that bad. But why, at this point of their career, release an all cover album, especially of songs that one has heard a zillion times. This incredible band deserved a better career-ending than this “not-good-nor-bad” album.


Stray Cats – Live From Europe

Surfdog Records 44045 to 44059 [2004]

stray cats live from Europe

Neo-rockabilly kings, the Stray Cats produced some mighty fine records but were mainly known for their wild and furious Rockabilly live shows. Strangely, they never issued an official live album, letting the door open to a bunch of bootleggers. When they reformed in summer 2004 for a European tour, the Stray Cats must have thought that they wouldn’t let bootleggers make money on their back this time. The result is here, 17 gigs and 15 CDs. Don’t look for booklets, photos of the show etc. The covers design is the same for all, except the colour. The sound is not top quality, they manufactured them very quickly, and they didn’t take time to produce them. I know many bootlegs that sound better than that. So depending on the records, you can’t hear the drums, have too much bass etc. Also, why didn’t they include the whole show on the cd’s (only 17 songs, no more, no less)? This is the first question one will ask. But the answer seems evident when you realize that the songs not on Paris CD are on the Bruxelles one, and so on… It really looks like an economical choice as they know that many fans will buy a maximum number of records to have all the songs.

On the other hand, it’s good to hear tunes the Stray Cats rarely performed live (18 Miles to Memphis, Rev it up and Go), a few covers never played on albums (Unchained Melody, in french for Paris; That’s All Right, Blue Moon Of Kentucky celebrating the 50 years of rock’n’roll; Red Hot). But I think these records concern primarily those who attended the shows. But if you weren’t there and want to buy one, I’d recommend the second part of the tour as the band is getting better and better as the tour progresses. I suppose they used the first shows as rehearsals (too bad that I went to Paris, the opening show).


Stray Cats – 20\20

Arista – 74321131172
Runaway Boys – Rock This Town – Can’t Hurry Love – Rumble In Brighton – Stray Cat Strut – Double Talkin’ Baby – Cross That Bridge – Baby Blue Eyes – Built For Speed – (She’s) Sexy + 17 – Lookin’ Better Every Beer – Cruisin’ – Lucky Charm (Ooh Wee Suzy) – I Won’t Stand In Your Way (a cappella) – Look At That Cadillac – Rebels Rule – Looking Out My Backdoor- Drink That Bottle Down -Sweet Love On My Mind -Something Else

Stray Cats - 20/20

20/20 is probably one of the best (if not the best) Stray Cats compilation or best-of ever released. Not only it contains the well-known and best songs from the first three albums (the Arista years) but what makes the difference with the other releases is that it also contains the b-sides and some rarities, most of them being unavailable on cd before.

It includes covers of Creedence Clearwater Revival, the Supremes, Gene Vincent but also originals like the excellent jump blues “Lucky Charm” (b-side of Look At That Cadilac), the a Cappella version of “I Won’t Stand In Your Way”, the country-tinged ballad “Looking Better Every Beer”, and “Built For Speed” the original that gave its name to the compilation album gathering Stray Cats and Gonna Ball for the American market.


Stray Cats – 40

Surfdog / Mascot M75895
Cat Fight (Over A Dog Like Me) – Rock It Off – I’ve Got Love If You Want It – Cry Danger – I Attract Trouble – Three Time’s A Charm – That’s Messed Up – When Nothing’s Going Right – Desperado – Mean Pickin’ Mama – I’ll Be Looking Out For You – Devil Train – Cry Baby (Live) (Bonus Track – Deluxe CD only) – Double Talkin’ Baby (Live) (Bonus Track – Deluxe CD only)

Stray Cats - 40
Stray Cats – 40

The first three Stray Cats albums blew me away. Maybe Gonna Ball had some fillers but these initial trilogy was perfect. After that, and the 1984 split, their albums were either good (Blast Off, Choo Choo Hot Fish thanks to the Edmunds touch), forgettable (Original Cool, Rock Therapy) or almost plain bad (Let’s Go Faster.)

However, on stage, they were still one of the best rockin’ band on the planet. So when the trio announced that they would record a brand new album full of original material, though I tried not to be too excited, the teenager inside me was smiling from one ear to another.

The name of Peter Collins to produce the forthcoming album surprised me. Even if he produced Setzer’s Dirty Boogie and Rockabilly Riot, Peter Collins was notorious for his work with Bon Jovi, Rush and Nick Kershaw to name but three. Nothing to make me feel that he was the ideal guy to replace Dave Edmunds. Most of all he was the producer who sabotaged the Stargazers’ Ain’t Nobody But Here but us Chickens.
The cover design also came like a warning. Here came guys who didn’t release anything for 25 years and to celebrate that they used the laziest design and ugliest cover possible. Hum…

I carefully changed my mind little by little and came to the conclusion that I would be happy with a basic Rockabilly album.
Then Cat Fight the first song was released. Nothing too original. A rock’n’roll song like you’ve heard a thousand times before. At that moment I was kinda resigned, this is not gonna be great, maybe good, at least average. But both Rock It Off, a rip off of Eddie Cochran’s My Way and Cry Danger a recycling of the riff of Aztec on Setzer’s debut solo album almost sealed the fate of that album for me: don’t expect anything.

I finally received the album and my fears were soon confirmed. It’s a shame that a band that returns with a new record after such a long hiatus didn’t put more work in it. The compositions are at best average (Mean Pickin’ Mama which is at least a Rockabilly number) but most of the time the term ‘lazy’ pops to mind. From the boogie blues riff of the aptly named That’s messed up that you’ve heard a zillion times to Three Time’s A Charm which is nothing but a variation of Setzer’s Hot Rod Girl, or I’ve Got Love that borrows its intro to Ubangi Stomp and its melody to You’re Humbuggin’ Me (Lefty Frizzell, Fabulous Thunderbirds…) and Desperado an instrumental which is a carbon copy of the Shadows’ Apache, it’s hard to believe Setzer when he says in mumerous interviews that he started writing these songs one year ago. Actually many songs sound like an embarassing caricature of Setzer’s Live Nude Guitar or Let’s Go Faster when trio tries to venture into unfamiliar territories (I Attract Trouble with – what a surprise – a quote of Pipeline).

It’s kinda weird to have Lee Rocker say “We are the best band that has ever played this music.” and find so few Rockabilly (even with a wide definition of it) on ‘40’.

And the production doesn’t help either. The drums sound buried and muddy and the fans of Lee Rocker will be surprised to find barely no slap on that album.
A couple of years ago I regretted that the Stray Cats ended their recording career with the uninspired Original Cool, but listening to this poorly written and badly produced effort, it was not that bad, after all.

PS – Don’t expect the so called “deluxe” version (two live tracks, two stickers, two coasters and a postcard) to save things.


Stray Cats – Rocked This Town From LA To London

Surfdog records 85968-2 [2020]
Cat Fight (Over a Dog Like Me) – Runaway Boys – Too Hip, Gotta Go -Double Talkin’ Baby -Three Time’s a Charm – Stray Cat Strut -Mean Pickin’ Mama -Gene & Eddie -Cry Baby -I Won’t Stand in Your Way -Cannonball Rag – Misirlou – When Nothing’s Going Right – (She’s) Sexy + 17 -Bring It Back Again -My One Desire -Lust ‘n’ Love -Fishnet Stockings -Rock This Town -Rock It Off -Built for Speed -Rumble in Brighton

Rocked This Town From LA To London

Despite what its title may suggest, “Rocked this town, from LA to London” is not a testimony of the Stray Cats’ latest international tour to promote 40. Setzer Rocker and Phantom recorded it in various US cities (but not in LA), and some of the songs were even recorded during the 2018 tour.

That said, it’s an excellent live album. It’s very well recorded, and the band is in fine form (way better than the 2004 tour). Moreover, it features five songs from 40. Not only they sound way better than the poorly produced studio versions, but it adds some diversity to the usual setlists of the band that turned to be quite repetitive over the years. It also features two instrumentals (Cannonball Rag and Misirlou.) Besides these two tunes and Double Talkin’ Baby and My One Desire on the vinyl version, the set focuses on the band’s songs rather than covers, thus allowing some place for a song like Lust’ n’Love. I was a bit sad to find no songs from Gonna Ball but with only 23 songs, I suppose that you have to made choices.
After all these years, the Stray Cats, especially on stage, still remain the kings of modern Rockabilly, and this live album is here to confirm that.

Fred “Virgil” Turgis

Josie Kreuzer

Josie Kreuzer

Josie kreuzer - Beggin' Me Back

Josie Kreuzer was precious in a rockin’ scene where girls are still pretty scarce (even more the talented ones). She had the songs, the voice, the look and good bands to back her. She even had her own label to keep complete control of her recordings. Too bad she decided to distance herself from performing and recording around 2003. Man, I can’t still believe it’s been
20 years.

Josie Kreuzer grew up in a house where music was vital, thanks to her mother “There seemed to be some kind of music playing most of the time. My mother’s record collection was huge–chock full of blues, jazz and rock n roll. It was hillbilly & rockabilly that struck the strongest chord with me, moved me the most.
Very quickly, the young girl begins to compose her own songs, even if she does not, because of her shyness, have the attention to perform in front of an audience.
I started writing songs when I was eleven, really with no intentional goals that I can think of.
Around sixteen, Josie and her mother moved to New Orleans. The city’s musical diversity allows it to discover many vernacular styles and expand its musical culture.
My ‘single’ mother was so preoccupied with working all the time that I was left to my own devices. Can you imagine that freedom given to a 16-year-old in a place where they let kids into bars? (…) I would spend a lot of time just hanging out listening to the R&B, Blues, Cajun, Jazz and Dixieland watching the street musicians and writing songs”.
Her love of music led her to apply for a job at Tower Records when she soon became the “Oldies” record buyer. There she deepened her musical knowledge.
I had always loved Elvis, Gene Vincent and Bill Haley, but I discovered so much more amazing music. I just grabbed the Rounder, Caroline and City Hall Catalogues. I ordered all these cool-looking records –practically everything on Bear Family, discovering stuff like The Collins Kids, Wanda Jackson, Janis Martin and Charline Arthur. But also around the same time, I went to the store’s magazine section and discovered a rock n roll fanzine called Kicks, which also turned me on to many obscure rockabilly artists. I ended up spending entire paychecks on records. I got a bit obsessive about it.’. The singer adds, “It wasn’t until I started working at a record store as a teen that I discovered the more obscure rockabilly music, which made me even love it more, and that was when I decided to get a guitar and eventually start a band.
That’s what she did, and at the age of 17, she started to learn the guitar from a Hank Williams’s songbook. But founding a band and finding the right musicians wasn’t that easy: “I wanted to form a band, and I just couldn’t find any musicians that were into rockabilly. I was really into the 1950’s lifestyle as far as the music and the clothes were concerned. I left New Orleans searching for a place where I thought I would belong. I felt very alone not being able to have a conversation with anyone about my largest passion: rockabilly and honky tonk music.” She then decided to leave New Orleans, roaming from San Francisco to Austin, before settling in Los Angeles in 1992.

Whistle Bait

A couple of months later,  she met guitar player Teri Tom through an ad in a local newspaper, and both of them then recruited double bassist Jennifer Quinn and their first drummer, a guy called Scott, soon replaced by Cleo Ramone. Within a year, she left, and Elaine Ferraro took her place behind the drums. It was their first band. Their lead singer remembers, “We were extremely raw sounding –as first bands usually are.

Whistle Bait was my very first band. It was actually all of the members’ first band as well. It was an all-girl rockabilly band, and believe it or not I hadn’t had the intention
of starting an all-girl band…it just sort of happened
that way. We were extremely raw sounding –as first bands usually are.

Their first gig was an opening slot for High Noon, and they also opened for Glen Glenn and Lee Rocker.
Next to classic covers (Train Kept A Rollin, Trouble, Crazy Legs and of course the Collins Kids’ Whistle Bait), the band’s originals, penned by Kreuzer, consisted of songs that she later re-recorded for her first two albums (So-called Boyfriend, Wildman, Wildfire, Honey Pie, Big City Small Town, Long Dark Night, Hey Sheriff, I Waited Up, Dead Man Walking, Runaway Train). Jennifer Quinn contributed one song titled Ain’t No Girlie.

Whistle Bait
Whistle Bait, second line-up (Teri Tom, Jennifer Quinn, Josie Kreuzer & Elaine Ferraro)

The band never had any official release though they made two demos, one they weren’t satisfied with and a second one recorded by Wally Hersom (Big Sandy). Talking about this recording and the eventuality to release it, Kreuzer joked,” I really don’t know if those recordings will ever be released—I can’t foresee putting them out in the near future…. Maybe after I’m dead or something?!” Another song titled Elvis Don’t Come Back From The Grave produced and recorded by Tim Worman of the Polecats later appeared on the compilation album American Rumble. It’s a good song but not for the purists, sounding a bit like a Neo-Rockabilly version of the Cramps. On the album the song was credited to T.I.D.E, probably because the band had already split by then.
In 1996, just after a show at The House of Blues in LA on Elvis’ birthday for their annual benefit Whistlebait disbanded. “We wanted to go in different directions musically. I wanted to stay traditional rockabilly, I think the others were aiming more towards a harder edge/alternative sound,” explains Kreuzer.

It happened just before the band was scheduled to perform in England at the Hemsby weekender. “I told (the rest of the band) that we should at least do this last gig, but they wouldn’t budge (cause they were still angry with my decision to quit the band)… so I called the promoter of Hemsby and told him that the band broke up, but if he wanted, I would still come over and do the show alone. I’ve been a solo artist ever since.

Josie Kreuzer, the solo artist

In the fall of 1996, Kreuzer recorded and produced her debut solo album at Golden Track Recording Studios in San Diego. She released it the following year on her debut album on her own She-Devil label “It’s entirely to have total control over my recordings. I have total accountability for everything. I know exactly how much and where every last cent is going from my CD sales earnings. Ask any artist who is with an Indie label, and they probably haven’t even seen $10,000 bucks so far…and if they have, they are probably wondering if they’ll ever get anything else. Ask any artist who is on a major label and they probably haven’t even seen one penny because they are still paying off their massive debt to the label. It’s sad but true.

On this album, titled Hot Rod Girl, Kreuzer was backed by Buzz Campbell, Johnny d’Artenay and Ty Cox from Hot Rod Lincoln. Most songs are originals penned by Kreuzer, some having been played and tested on stage during the Whistle Bait days. It also contains two covers: Sonny Burgess’s Aint Got A Thing, and Donna Darlene’s You’re Not Doing Me Right.
It’s a very solid effort, especially for a debut album, considering the fact that Kreuzer sings and is also in charge of the production. Maybe an external ear could have helped her refine some vocal takes, the singer being off-key on You’re Not Doing Me Right, and some phrase ends are not always pleasant. But those are minor flaws, and Kreuzer’s high-pitch nasal vocals, close to Wanda Jackson, does wonder on most of the tracks, and Hot Rod Lincoln provides solid backing, sometimes aiming at a Neo-Rockabilly sound (So-Called Boyfriend).

Josie Kreuzer

In 1999 she released “As Is”, which was even better. The vocals were better, and the songs (all penned by the singer) were excellent and varied. It found Kreuzer going more into a hillbilly bop direction, with the presence of a steel guitar on some tracks. The backing band consisted of Mike Kraus on guitar, Jeff Kraus on double bass, Marc Clarke on drums and Dana Duplan on steel. Also, Teri Tom of Whistle Bait played the lead guitar on one tune. About that album, the blonde singer said, “Now that I look back, I realize “As is” was just myself coming full circle. In my earlier years, I was really more hillbilly sounding, but no one knows this because the first recording that everyone has heard is ‘Hot Rod Girl’… I never «consciously» plan the songs I write, they just come out. ‘As Is’ was just a product of the songs that came out of me at that period of my life. You see, for me, I can’t just sit down and say, ‘well, gee, I think. I’m gonna write a rockabilly song today’. My songwriting goes much deeper than that…. it’s influenced by what’s going on around me. The arrangements (e.g. steel guitar) just come to fruition as I get together with my band. I happened to have a steel player there at the time, and I just liked the way it sounded. I have a hard time with genres. Unfortunately they have to categorize us somehow. I really just play the music that is deep in my heart, and that just so happens to be categorized by people as rockabilly…so when I slightly stray from that it worries some people–I don’t know why–hillbilly rockabilly–honky–tonk–whatever you want to call it–it all has soul, and that’s what I like creating—music with soul.

“I have a hard time with genres. Unfortunately they have to categorize us somehow. I really just play the music that is deep in my heart, and that just so happens to be categorized by people as rockabilly… so when I slightly stray from that it worries some people, I don’t know why. Hillbilly,Rockabilly, Honky-Tonk, whatever you want
to call it, it all has soul, and that’s what I like creating, music with soul.”

Her third (and last) album appeared in 2002, still on She-Devil Records. Kreuzer is supported by a new group consisting of Jeff Graves (aka Rip Carson) on double bass and Craig Packham on drums. But the main change, compared to the two previous albums, comes from the singer delegating the production to Mark Neill (who also plays the guitar). Owner of Soil of the South studios, Neill produced and recorded bands like Big Sandy and the Fly-Rite Trio, the Lucky Stars, Deke Dickerson, the Smith’s Ranch Boys, and the Sprague Brothers, to name a few. He also played the guitar on this album. This is, by far, Kreuzer’s best effort.

The sound of the album is thus more compact and better balanced. As for the vocals, they have refined over time while remaining so recognizable. Having an external ear allows her to correct certain vocal flaws. The repertoire gains in variety and emotions (which the first album lacked a bit). Lucky and Wild opens the album and immediately grabs your legs, only to release you about thirty minutes later with the superb and Latin-tinged My Sin (Mi Pecado). In between, you find songs like After I Stop Lovin’ You à la Johnny Cash, Why, a traditional Rockabilly number, Reminder To Remember (to Forget Him), a nod to Elvis’ I Forgot to Remember to Forget Her and Read the Lipstick On The Wall where we hear all the know-how of Mark Neill (listen to the sound of the snare drum and the acoustic guitar to convince you of it) ).
Fans had high hopes for what could follow, but Kreuzer decided to take a break. Her last tour had left her exhausted. She got married and succumbed to the charms of maternity.
Now, 20 years after the release of Beggin’ Me Back, the fans are still begging for her return.

Fred “Virgil” Turgis

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