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The Droptops

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The Droptops were a trio from Mayland formed by John Bozarth on double bass and lead vocals, Christine Bozarth on drums and Elizabeth Doschek on guitar. They were active during the first decade of the new century. However, I couldn’t find the exact date when the band stopped.

All three members of the Droptops were musically inclined at a very early age. At 7, John learned to play trumpet and piano. “We had a piano in the house that no one used, so I started playing. As I focused on different instruments, I listened to different kinds of music featuring the kinds of things I was playing. That’s when I discovered jazz, listening to Louis Armstrong, Tommy Dorsey, Benny Goodman, all the standards.” Elizabeth’s father played classical piano, and her mother was a fan of 50’s Rock’n’Roll. They later went on to play in different bands in high school. John played trombone in the Jazz ensemble, Christine played the flute in the concert band and orchestra, and Elizabeth played violin in the orchestra. Like many, the three members of the Droptops were members of the Punk scene in their teens. Before forming the band, John and Christine played in a Punk band called the Drednoks, and Christine was a member of the Connecticut punk band the Snatch. And through that scene, they got introduced to the music of the Reverend Horton Heat and Johnny Cash. John was also a fan of Elvis, the Stray Cats and Bill Haley. “They were a different sound from most stuff played on the radio.” He found out that bands were playing that style of music. Elizabeth’s introduction to roots music came from her mom “pretty much since birth” with artists like Chuck Berry and Little Richard.

The Droptops
The Droptops

The Droptops formed in 2003 though the band’s origin is slightly older. Says Christine, “All three of us had been friends for years. Christine and I met in middle school, and we became friends with John a few years later in high school. After returning to the DC area after college in 2001, we decided to get together along with another friend, Brooks, to put together a rockabilly band. We played as a four-piece (with John on vocals and rhythm guitar, Elizabeth on lead guitar, Christine on bass guitar, and Brooks on drums) for a couple of years. In 2003 John and Christine switched instruments, Brooks left the band, and we formed the current version of the Droptops.” The guitar player adds, “We liked the sheer enthusiasm of the music and the excellent musicianship of many rockabilly artists. Rockabilly is both interesting musically and fun.” John completes, “I always liked the fact that you could make good music without having to be overly-proficient at your chosen instrument. It’s a lot of fun when you don’t have to concentrate on whether or not you’re the best at what you play.”

I always liked the fact that you could make good music without having to be overly-proficient at your chosen instrument. It’s a lot of fun when you don’t have to concentrate on whether or not you’re the best at what you play.

Their influences

Asked about their influences, the band cited the Sun sound, Eddie Cochran, Hank Williams and Johnny Cash. John added Marshall Lytle of the Comets “because that’s what got me into playing upright bass”. Christine said she worshipped Chuck Berry, “my guitar idol” She also added Chicago Blues artists like Muddy Waters and Buddy Guy to the list. But the taste of the band proved to be broader than that. When I asked what was on their turntable at home, they gave the following answers: Christine “a lot of 50s rhythm and blues, rock and roll, and doo-wop; anything with a solid beat and energetic delivery”, John “Hank Thompson, Jackie Wilson, Louis Jordan, The Ramones, Gene Krupa, Bob Wills, Charlie Feathers” and Elizabeth “Chicago style blues, jazz from the 1940s to today, and 50s rhythm and blues and rock and roll artists.”

The album

In 2007, the trio released an album on Wild Hare records. This album is made of 10 self-penned songs (although titles like “Rock! Rock! Rock!” and “Lovesick Blues” sound familiar, they are written by the band and are not Johnny Powers and Hank Williams’ songs), alternating slow and mid-tempo tunes. The whole cd is very coherent, and the production (as on every Wild Hare productions) manages to capture the excitement of the music. As they said, their sound is obviously influenced by Sun records, but you can also find some similarities with Jimmy Bowen in John’s voice. If you dig Rockabilly artists like Carl Perkins and Johnny Powers or today’s bands like The Flea Bops or The Raging Teens, this one will please you from start to finish.

We do think about whether our songs sound too much like other bands’ songs, particularly famous songs, when we write. This can be hard, especially if you’ve spent the day listening to Rockabilly! On more than one occasion I have written what I thought was a great song only to realize afterwards that it was exactly like some song I was listening to earlier.

About the songwriting

When we talked about the songwriting process and the trap of unconsciously re-writing some classics, Elizabeth answered, “We do think about whether our songs sound too much like other bands’ songs, particularly famous songs, when we write. This can be hard, especially if you’ve spent the day listening to Rockabilly! On more than one occasion I have written what I thought was a great song only to realize afterwards that it was exactly like some song I was listening to earlier.” That said, the brand of Rockabilly played by the Droptops remained very fresh. I see two main reasons. The first one can be found in the blues element added by Elizabeth. She developed her Rockabilly style by listening to the Rockabilly pioneers’ same things and not copying note-for-note Rockabilly solos.
The second reason is their songwriting “When we write, we don’t worry too much about sticking to the “rockabilly” genre. Most of our stuff is probably more like 50s rock and roll than Rockabilly anyway. We do probably try to stay away from writing material that sounds too modern. Our main goal in writing songs is to try to write songs that tap into our strengths as a band.”


The band worked on material for a second album, but I believe they stopped playing before it was recorded or released. As I said in the introduction, I couldn’t find exactly when the Droptops actually stopped playing. During his stint with the band in 2008, I know that John Bozarth joined the Garnet Hearts, who released one album on Wild Hare and a second one on Another Mile records. He later formed with Christine on drums and Andrew Ladson of the Garnet Hearts a band called the Charmers. An album was announced on Another Mile Record though I don’t think they ever released anything.
When writing this article, I searched the internet to complete my info. I was surprised that very few existed about the Droptops on the web. It’s quite unfair since it was an excellent band with a personal style and solid originals, and I hope this small article will fill that void.

Discography

Wild Hare Records presents… The Droptops
Wild Hare07002 [2007]
Where There’s Smoke – Rock! Rock! Rock! – Walkin’ The Floor – You Treat Me Mean – She’s My Baby – Back With My Baby – Lovesick Blues – Stuck On You – When You Go – Disappearing Baby

Ryan Cain and the Ables / Chaotics

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Ryan Cain & the Ables – Cupid and the Devil 

ryan cain

Self released [2016]
Hepcat Habitat – Knots – Drinkin’ Wine Spodee Odee – Selfie Of Your Heart – I Call Bullshit – Tears Of Doom – Cupid And The Devil – Waltz Wrong With This Picture – Go Boy Go – Talk To Me – Keep The Change – Kill Devil Hillbilly

Released in 2016, Cupid and the Devil is the second album from Ryan Cain and the Ables after My pistol Rides Shotgun in 2012. Cain formerly played with Ryan Cain and the Chaotics, who had an album on Wild Hare in 2008. Brandon Elmore, who plays bass on this album, also played in the Chaotics.

The opener is a medium Rockabilly number somewhat reminiscent of Johnny Powers. 13 Knots follows. It features a Spanish guitar reminiscent of the Marty Robbins’ Gunfighters ballads like El Paso or Big Iron. Next is a cover of Sticks McGhee’s Drinkin’ Wine, Spo-Dee-O-Dee, though Cain’s cover is obviously influenced by Johnny Burnette’s. This is not the only song that shows the influence of the Rock’n’Roll Trio. One can also hear it on Go Boy Go as well as the title track and I Call Bullshit, a frantic Rockabilly on which Cain almost ran out of oxygen.
But Cain has the excellent idea to keep things varied. Hence some songs lean more on the country and western side of things, like the Johnny Cash-tinged Keep The Change. Also, Selfie Of Your Heart is a superb country shuffle with a fiddle. And if the opening riff of Tears of Doom sounds like Tomorrow Night, the nasal voice and the fiddle firmly anchor the song in the hillbilly idiom. 
Two ballads complete the set Talk To Me and Waltz Wrong with This Picture which only lacks the Jordanaires to be perfect.
In a surprising manner, the album ends with a Surf instrumental, which is good but sounds a bit out of place.

If you’re looking for a traditional-sounding Rockabilly and Rock’n’roll album with country echoes, look no further, Ryan Cain’s Cupid and the Devil is perfect for you. It’s a perfect album, produced with taste and excellently recorded.

Fred ”Virgil” Turgis

Hal Peters trio / & his Stringdusters

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Hal Peters and his Trio – Takes on Carl Perkins

hal peters trio

Bluelight, BLR 33218 1 [2022]
Big Bad Blues – You Can’t Make Love to Somebody – Lonely Heart – Turn Around – Somebody Tell Me – I’m Sorry I’m Not Sorry – Dixie Fried – Everybody’s Trying to Be My Baby – Forever Yours – Matchbox – Movie Magg – Boppin’ the Blues – Just Coastin’ – Tennessee

One of Europe’s best Rockabilly bands, the Hal Peters Trio, formed nearly 40 years ago. And their relationship with Carl Perkins dates from the same period. The compilation album Goofin’ Around featured a cover of Gone Gone Gone recorded in 1985 during a rehearsal. On subsequent releases, they often included songs from Perkins: Perkin’s Wiggle and Tennessee on their debut album, Somebody Tell Me on Baby I’m Ready in 1991 and more recently Gone Gone Gone on Crazy Mixed Up Blues in 2018.
Their latest album features 14 tracks, all written or recorded by Carl Perkins, except for I’m Sorry, I’m Not Sorry, written by Wanda Ballman.
An all-covers album is always a delicate thing. Moreover, an album dedicated to just one artist. The hardest thing is to find a good distance between fidelity and originality. If you’re too faithful to the original, what’s the point and if you’re too adventurous, there’s a risk of betraying the beauty of the original.
Fear not, my friends! Hal Peters and his band (Eino Rastas on guitar, Timo Uimonen on double bass, and Janne Junnilainen on drums) found the correct approach. Their success resides in two things (well, three, if you count their musicianship). First, they made a perfect selection. The correct balance between Sun hits and lesser-known tracks, covering the fifties and the sixties. They were clever enough not to stick to Sun, but also they also added songs Perkins had recorded for Brunswick, Columbia and even a tune that was only demoed (Somebody Tell Me). The result is a selection that ranges from his hillbilly debuts to his late 60s rockin’ sides.
The second ingredient is love. They don’t let the respect they have for Perkins’ recording legacy paralyse them. Thus, the result is not a sterile re-creation but a joyful celebration. You can’t help but tap your feet and sing with them. And they manage to add their own personality in the process.
The biggest achievement of this fine platter is that you never think, “I’d rather listen to the originals”. And that, considering the immense talent of Carl Perkins, this is not a small feat.
Note: the LP version features Turn Around instead of Let the Jukebox Keep On Playing and Honky Tonk Blues instead of Movie Magg.

Fred “Virgil” Turgis

Hal Peters and his Stringdusters - Western Standard Time
Hal Peters and his Stringdusters – Western Standard Time

Hal Peters and his String Dusters – Western Standard Time

Bluelight Records. BLR 331132 [2004]
Late For Lovin’ – Eatin’ Right Out Of Your Hand – Without You – Time/Careless Words – Ciggarets, Jukebox and A Bar Room – I Hear You Talkin’ – Take Back Your Paperheart – Play The Music Louder – My Front Door Is Open – If I Don’t Love You (Grits Ain’t Croseries) – I’m Satisfied With You – Diamonds And Cadillacs – Guess Things Happen That Way

One often says that to make good country music and especially western-swing, it is necessary to be american and live in the south of the country if possible! All this is bullshit and I ‘m gonna disclose it right now : there is a band in Finland which, since many years now, forged itself a reputation whose exceeded the borders and is far from being usurped. Hal Peters and his String Dusters’ fellows form today part of the best formations of Western-Swing and this new album «Western Standard Time» proves it easily.Since their beginnings in the rockabilly music as a quartet (Hal Peters and his Trio) the combo has changed its name, stretched and moved towards a hillbilly bop and western-swing style inspired by Curtis Gordon (to whom this album is dedicated) Roy Hogsed or Hank Thompson. These accomplished musicians who divided themselves between other bands give to this album a credibility who largely exceeds a number of other bands which today launch out in this musical kind. Listen to «Late For Lovin’» a composition of Hal Peters (his real name is Heikki Laakkonen) and you will immediately be transported to Texas or Oklahomain the middle of the Fifties. The rest of the album will firmly anchor you to it during the fourteen titles with a small detour towards the rockabilly sound of Memphis with the participation of Hayden Thompson («Diamonds and Cadillacs») and the «Cash» soundalike with the cover of «Guess Things Happen That Way». Is Helsinki goin’ to overshadow Turkey as the home of Western-Swing?? Who knows.??

David Phisel

Hal Peters and his Trio - Fireball Mail
Hal Peters and his Trio – Fireball Mail

Hal Peters and his Trio – Fireball Mail

Goofin Record GRCD 6038 {1994}
Fireball Mail – Make Up Your Mind – Rock Me Up – Baby I’m Ready – You’re My Very Special Baby – Doggone It/If You Don’t, Somebody Else Will – You’re There – Satisfied – Starlight – When I Saw Your Face In The Moon/You’re Gone – Steelin’Home – Blue Blue Day – Tired Of Rockin’ – Rock, Roll, Jump and Jive – Snatch It And Grab It – Big Fool – Have I Told You Lately That I Love You – You Can’t Do Me No Wrong – Perkins Wiggle – Slippin’ Out And Sneakin’ In – Tennessee – If You Can’t Rock Me – Love Charms – Blue Days-Black Nights – Freight Train

A must have. This cd album contains the band’s debut album (Snatch It and Grab It), songs from various singles, eps, compilations and a selection of songs from their 1991 album « Baby I’m Ready« . And if it wasn’t enough it also features five brand new recording that announce the new direction – more western swing – taken by the band in the following years.

Fred « Virgil » Turgis

Hank Ewards - In the silence of the Night
Hank Ewards – In the silence of the Night

Hank Edwards With Hal Peters And His Trio – In the Silence of the Night

Goofin Records GOOFY 533 {1992}
In the Silence of the Night – I Wish I Has a Nickel
Another case of « wrong time, wrong place ». Had Hank Edward come from the USA and been active in the late 40’s/early 50’s, he would have shared the stage of the Opry or the Hayride with Hank Williams or some other great names of the time. Instead he comes from Sweden and began releasing records in the 80’s for an audience of fine connoisseurs.
This honky tonk single released for Goofin seems to come straight from the 50’s. Everything here is close to perfection the songs (one original on side A and a cover of Hank Williams that certain discovered under the name of Tell Me Little Darlin on the Riverside Trio debut album – on the side B), the voice and the backing provided by the always excellent Hal Peters and his trio.

Fred “Virgil” Turgis

Hal Peters and his Trio - You Don't Have to Worry ep
Hal Peters and his Trio – You Don’t Have to Worry ep

Hal Peters and his Trio – EP

Goofin’ Goofy 511 {1988}
You Don’t Have To Worry – If You Don’t, Somebody Else Will – Doggone It – When I Saw Your Face In The Moon

The name has changed to Hal Peters and his Trio with the addition of Jussi Huhtakangas on drums and steel guitar but the quality remains. A guest fiddle can also be heard on Jimmy and Johnny’s If You Don’t, Somedy Else Will. The result is one great rockabilly number (Joe Clay’s Doggone It) and three mellower hillbilly bop straight from Texas circa 1955.

Fred « Virgil » Turgis

Hal Peters Trio - Snatch It and Grab It!
Hal Peters Trio – Snatch It and Grab It!

Hal Peters Trio – Snatch It and Grab It!

 

Moondogs SRLP 8525 {1986}
Rock, Roll, Jump and Jive – Snatch It And Grab It – Big Fool – Have I Told You Lately That I Love You – You Can’t Do Me No Wrong – Perkins Wiggle – Slippin’Out And Sneakin’ In – Tennessee – If You Can’t Rock Me – Love Charms – Blue Days-Black Nights – Freight Train

Released in 1986 Snatch It and Grab It is the debut album of this Finish trio. They formed in 1984 with Heikki Laakkonen on vocals and acoustic rhythm guitar, Eino Rastas a mighty guitar player in the style of Hal Harris formerly of the Rhythm Wheel Combo and Timo Uimonen on double bass. They are probably one the best rockabilly band of the eighties and one the very few to capture the feeling of the 50’s recordings.
Despite a majority of covers (Carls Perkins, Freddie Hart, Curtis Gordon, Buddy Holly, Joe Clay…) and only one self penned tune (You Cant Do Me No Wrong) they manage to have a highly personnal sound. Most of the songs are in the drummerless trio format though one can here a light drums on some tracks and occasional piano. Excellent from start to finish
Later reissued with various other tracks on the cd album « Fireball Mail » (Goofin records GRCD 6038).
Fred « Virgil » Turgis

Hal Peters and his Trio
Hal Peters and his Trio

Two Timin Three

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Two Timin Three

The Two Timin’ Three – Where Did You Sleep Last Night?

Two Timin Three

Vinylux V0010 [2009]
Black and White Baby – No Thru – I’ll Be True – Love Sick Lullaby – Lonely, Lonely, Lonely – Your New Flame – Since I Found Love – Where Did You Sleep Last Night? – It’s All your Fault – Marie – Got You Figured Out – Just One Wink – Through Foolin’ Around – One Red Rose – No Good Man

“The newcomer that impressed me is the Two Timin’ Three!!! Shane, Jeff, and Eric are an excellent rockabilly trio from Austin, Texas, who write and perform in the highest quality.” That’s what Sean Mencher answered in 2006 when asked if a band recently impressed him.
The Two Timin’ Three was founded in Boston, in late 2003, by stand-up bassist Shane Kiel and lead guitarist Jeff Herring. They tried various vocalists before meeting Eric Laufer.
They carried on the long tradition of drummerless Rockabilly, but the Two Timin’ Three were not your run-of-the-mill Rockabilly band. Laufer’s voice was enough to distinguish them, being able to sing with a soft crooning one minute and calm-down menacing the other. Herring’s guitar showed that his influences went far beyond Scotty Moore and Grady Martin, contrary to many aspiring Rockabilly guitar players. One can hear a healthy dose of Jazz and some traces of Chet Atkins and Les Paul in his style. Shane Kiel’s solid slap provided a solid backbone for the band. It’s no wonder that sharing a similar musical background, the band would cross paths with Sean Mencher, who produced this album and Lance LeBeau, who recorded it.
All songs but two (Mencher’s Your New Flame and Cindy Walker’s It’s All Your Fault) are originals. They showed a high level of maturity, with special care to write melodic songs. They mainly played mid-tempos, which allows the singer and the guitar player to ‘breath’ and fully develop their melodies.
Another excellent album followed in 2006 (Payin’ the Price), then the band added Patrick Morrow on drums and became the Two Timin’ Four, thus expanding their musical scope.
Sadly, on September 4, 2008, Eric Laufer was killed in a motorcycle accident. He was only 25.
On a lighter note, I remember the Two Timin’ Three’s performance at The Rockabilly Rave. It was in the afternoon, not on the main stage, but everyone present was blown away by the energy of these three young men.

Fred “Virgil” Turgis

Go Cat Go

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go cat go


Go Cat Go – Let’s Hear It Once Again for…

Go Cat Go - let's hear it once again for

Vinylux V0002 [1999]
Good Rockin’ Tonite – Little Baby Doll – Please Mama Please – Mystery Train – Flyin’ Saucers Rock n Roll – ‘Til the Cool Cats Cry – Just Because – Can’t Tie Me Down – Blue Days Black Nights – I’ve Got My Eyes on You – Time to Rock – Forever’s Much Too Long – Other Side of Town – Who Was That Cat – Milkcow Blues Boogie – Reconsider Baby – Lonesome Road – Big Train – Ten Ways to Rock – Drugstore Rock n Roll – Hot Rod Man – Stockins and Shoes – Blue Moon of Kentucky – Pink and Black – Tell Me Why

This CD compilation was released shortly after the single. I place Go Cat Go very high in my own Rockabilly pantheon, so you won’t be surprised if I tell you that this CD is an absolute must-have.
One will find two early recordings from March 1990, Forever’s Much Too Long and Time To Rock. Forever is, for me, one of Spears’ best moment. The array of subtleties that you can hear in his voices is simply amazing (I have to confess that I’m always moved and almost bursted into tears when I hear the line ‘Why can’t I be the one you love Instead of just your in-between’. Considering that Freeman had only joined the band three months before the recording, it only adds to the thing’s beauty.
This compilation also contains the 10″ recorded for Willie Lewis in April 1991, the single and three more tracks from the Sun session (Flyin’ Saucers Rock’n’Roll, Til The Cool Cats Cry, Blue Days Black Nights), and twelve live tracks. These songs – mostly Rockabilly classics – demonstrate that Go Cat Go was a fantastic live band. They also confirm that Darren Lee Spears’ songwriting could stand proudly next to classics like Blue Moon of Kentucky, Mystery Train or Drugstore Rock’n’Roll, to name but three.
The booklet contains a complete history of the band written by Wendy LeBeau.

Go Cat Go – Please Mama Please

Go Cat Go - Please Mama Please

Vinylux V0001 [1999]
Please Mama Please / Who Was That Cat


During one of their tour, the band stopped by Sun Records in Memphis and recorded six tracks. These two songs come from that session and were released after the tragic death of Darren Lee Spears in 1993.
Both Please, Mama Please and Who Was That Cat are two instant classics. They contain everything that made Go Cat Go one of the very best Rockabilly bands of the nineties. Only Big Sandy and the Fly-Rite Trio and High Noon reached that level. Darren Lee Spears had a fantastic voice. It reminded me of Elvis, not for the tone, but for the extreme facility he had to sing and his wide vocal range. Spears also knew to dose his effects. The hiccups he placed were rare enough to have an impact. He also was a double threat for not only he was a fantastic singer, but he also was a highly talented songwriter. The song he wrote always sounded as if they came straight from the Fifties but remained originals at the same time. Such a talent could have been waste with an average band. Thanks to the Rockabilly gods, it was not the case. Hull was a gifted guitar player that mixed Scotty Moore and Cliff Gallup, and the team formed by Freeman and Lebeau was the perfect Rockabilly rhythm section.

Go Cat Go – S/T

Rock-a-Billy Records R-301-LP [1992] / Vinylux V0004 [1999]
Little Baby Doll – I’ve Got My Eyes on You – Can’t Tie Me Down / Big Train – Other Side of Town – Lonesome Road

Go Cat Go formed in 1989 with Darren Lee Spears on vocals, Bill Hull on guitar, Lance Lebeau on drums and Paul Turley on electric bass, soon replaced by Brian Freeman on slap bass. In March and April 1991, they recorded these six songs, and Willie Lewis released this ten-inch on his Rock-A-Billy label in February 1992 (R-301-LP). The original release (650 copies) had no jacket, and the following year, the band financed the printing of some jackets (designed by Ronnie Joyner) for the remaining 350 copies. It quickly became a collector item, and Vinylux reissued it seven years after its initial release.
Little Baby Doll is the epitome of Rockabilly. Freeman’s propulsive slap bass and LeBeau’s perfect drumming allow Hull to weave a delicate and subtle pattern behind the singer’s voice who equals the best of Elvis and Gene Vincent. All that in two minutes! Likewise, the Other Side Of Town can only be described as rockabilly perfection.
I’ve Got My Eyes On You is a threatening tune with a slight Jack Scott feel. Can’t Tie Me Down is a ballad that allows Spears’ voice to develop all his range and shows echoes of Jerry Lee Lewis in his best vocals moments. Big Train features a harmonica and can be described as Rockabilly Blues. The last song, Lonesome Road, is from the pen of the young Brian Freeman, and one can only regret that he didn’t write more songs.

See also the Flea Bops and our interview Lance and Wendy LeBeau

Check out Vinylux records website.

Lucky Jones

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Lucky Jones – This Ain’t Memphis

Lucky jones

Farraday Records
Runaround Blues – L.A. Woman – Don’t Say So Long – Hammer Down – This Ain’t Memphis – You’re My Baby

I don’t know much about Lucky Jones. On this mini-album, he sings and plays guitar (and some bass too), Illinois Jones plays drums Heath Williamson played some bass too
But what I know is that it’s a neat mini-album featuring five originals and one cover.
Runaround Blues is a powerful yet melodic Rockin’ tune. The next song is not a cover of the Doors but a hard-hitting Rockabilly tune, sounding like Billy Lee Riley on speed. Things calm down with Don’t Say So Long, a superb country ballad with a haunted steel guitar. Back to hi-octane Rockabilly with Hammer Down, a song that will please fans of Brian Setzer’s 68 Comeback Special. This Ain’t Memphis is a tribute to Johnny Cash and the Tennessee Two, sung in the same manner with that distinctive boom-chicka-boom and musical quotes of Cash’s greatest tunes. The last song pursues the Cash filiation. It’s a cover of You’re My Baby, a song Cash wrote for Roy Orbison, and Jones delivers a mighty version on which you can hear the influence of Brian Setzer in the guitar.

Available here

Fred “Virgil” Turgis

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