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Monday, November 28, 2016


Comments from the author about writing:  I have self-published three novels in my retro-styled and G-rated Eddie Atomic space adventure series: 2009's Shake, Rattle & Rocket!, 2012's Ghost Saucers In the Sky!, and 2016's Stratosphere Boogieman. All feature "two-fisted scientist" Eddie Atomic, genius glamour-girl robot Kioko, youthful, plucky pilot Spunky, and wise veteran advisor Commander Augustus McGuffin.
I wrote a regular Pin Up America column, "In the Spotlight," for about two years. For some six years before that, I was the CD Review Editor for Rockabilly Magazine.
My freelance music articles and reviews have appeared in Goldmine, No Depression, Blue Suede News, Rock & Rap Confidential, and others. 
National/international political essay credits include Daily CallerCounterpunch, American Thinker, Dissident Voice, the Huffington Post, and USA Today
I've also written numerous newspaper opinion pieces on political topics, with credits including the Des Moines Register, Waterloo Courier, Marshalltown Times-Republican, Iowa City Press Citizen, and Cedar Falls Times.
Too, I served as Iowa Coordinator for Ralph Nader's 2004 independent campaign, a position that included writing duties. I also served as the Iowa Green Party Media Coordinator from 2000 - 2004. 
And in 2016, I wrote several Iowa newspaper think-pieces promoting the Donald Trump campaign.
Book Types: Fiction
Audience Types: All Ages
Genre: Science Fiction, Humor
Are you willing to do programs for schools, libraries, or other groups? No
Mailing Address: 
322 E. Louise Street,  Waterloo, Iowa 50703
E-mail Address:
Author's Web site: and
County:  Black Hawk

Books By This Author

  • Shake, Rattle & Rocket! Self-published, 2009.
  • Ghost Saucers In the Sky! Self-published 2012.
  • Stratosphere Boogieman 2016

Tuesday, November 15, 2016

Just a note to advise readers I am finishing up a book of rock'n'roll essays and reviews. I'll return to blogging as soon as I'm able. I will advertise the book, tentatively titled Flesh Made Music, on this blog.

Thursday, October 13, 2016

Wayne Hancock
Slingin' Rhythm (Bloodshot)

When rarely realized justice turns up, we all should savor the moment. It comes to Wayne every time a crowded juke joint dance floor erupts with thrilled and full-throated regular folks cheering his roots music melange. And that honky tonk, western swing, blues, and rockabilly often jump up as cool compatriots in his poor-side-of-town presentations only indicates the blood bond we dug all along.

Recommended "Slingin' Rhythm," "Two-String Boogie," "Over Easy," "Divorce Me C.O.D.," "Thy Burdens Are Greater Than Mine," "Love You Always," "Dirty House Blues"

Video "Slingin' Rhythm"

Tuesday, October 11, 2016

Jimmy Thackery and the Drivers
Spare Keys (White River Records)

Countless players can connect admirably with music from a distance, but only men like Jimmy know intimate, spiritual oneness with the notes, themselves. What seemed likely in his Nighthawks years has today become natural fact.

Recommended "Five Inch Knife," "Blues All Night," "Candy Apple Red," "Bella Noche," "The Barber's Guitar," "Puttin' the Word Out"

Video "Bella Noche"

Wednesday, October 5, 2016

Mr Blacksmith
Back To Rock 'n Roll (self)

Sweden's Martti Risku handily demonstrates exactly how much detonative capacity one man can muster with just a guitar and a plan. Savage, freight-train downstrokes, their cumulative force unstoppable, honor the two-fisted example of taut/scowling/single-mindedly purposeful Johnny Ramone.

Recommended "Back To Rock 'n Roll," "Ei Oo Lomaa," "Fast Rock," "Shadows In the Night"

Video "Tredje punken" (non-CD)

Tuesday, October 4, 2016

Too Slim and the Taildraggers
Blood Moon (Underworld)

Thankfully, it's come to this. Some 30 years of indefatigable road-dogging and studio development culminate in moving, fist-pumping testimony to sheer-force blues-rocking combustibility. Given appropriately steamrolling players, a trio is enough to shake 

Recommended "Get Your Going Out On," "Dream," "Evil Mind," "My Body," "Good Guys Win"

Video "Good Guys Win" (live)

Monday, October 3, 2016

Pike Cavalero
Sin Miedo a Volar (Sleazy)

More than only uphold the torch of real rock and roll (an act that by itself merits back-slaps), Pike adds more than a bit of his own scintillating styling. Throw this on when the fortunes of Sun Era-cool class seem dim and auto-tune annoys to distraction; there is indeed sanctuary for those who know where to search it out.

Recommended "Cuando Caiga la Noiche," "Ahora Que Lo Tienes," "Desde Que No Estas," "Unica Es," "Cuando No Te Echo a Faltar." "Me Nena Pequena"

Video "Cuando Caiga la Noiche"

Previous discs:

Sunday, October 2, 2016

Hank Angel And His Island Devils
All Hopped Up! (self)

Immediately garnered calloused thumbs up from the slouched cool-cat phalanx. Raw, full-throated, and beer-soaked uproarious in the way only coarse rockabilly in quintessence can be. As gritty and stomp-worthy as an all-nighter no one really remembers, but whose indelible satisfactions and scars are borne as badges.

Recommended "Rockabilly Til I Die," "All Hopped Up," "Crash the Hop," "I Know You Hear Me Calling," "Roadmen," "Te Amo, Carina"

Video "Rockabilly Til I Die"

Saturday, October 1, 2016

Rusty York
Rock & Roll Memories (Jewel)

A young man of the South, Rusty was transformed by the hillbilly and bluegrass songs pouring from a beloved radio. Opry broadcasts were among his favorites. With a guitar given to him by his father, he realizing regional performing success with bluegrass. But he perceived that greater popularity and reward lay in the then-young rock and roll style.

His jumping 1959 cover of the Marty Robbins-penned "Sugaree," with all the bare-boned intensity common to upstarts of the era, made #77 on the Billboard chart. It would be his highest commercial moment, though numerous fine rockin' tracks followed.

Following "Sugaree's" chart placement, Rusty and his band, the Cajuns, joined a Dick Clark package tour. Also appearing were Duane Eddy, Frankie Avalon, and Annette Funicello. Rusty's group opened the Hollywood Bowl show, becoming the first rockers to play the venue.

Rusty also ran Jewel Records, and built a home studio. He stopped gigging in the '70s, but eventually resumed live performances, A new generation of rockabilly afficianadoes had sprung up, in both
America and Europe. They treasured golden era rockabillies. And they dug "Sugaree."

Though Rusty York never ascended the highest heights of celebrity, he had carved out his own place in musical history. For that, he was inducted into the Rockabilly Hall of Fame. 

He died in 2014.

Recommended "Sugaree," "Sadie Mae," "Sweet Love," "Shake 'Em Up Baby," "You Better Leave My Baby Alone," "Goodnight Cincinnati, Good Morning Tennessee"

Video "Sugaree"

(Rusty York, center)

Friday, September 30, 2016

Sammy Eubanks
It's All Blues To Me (Underworld Records)

With lapel-grabbing stridency, these eminently tradition-grounded songs illustrate blues' table-pounding potential. Sammy rips from simply six stings a host of lightning-streak furies, adroit amblings, and introspective articulations. Easy-at-home vocals shoulder in beside them, evincing disarming emotional substance. 

Recommended "It's All Blues To Me," "No Excuse For the Blues," "I'm Gonna Leave You,"  "Sugar Me," "My Baby's Gone," "It's My Life Baby"

Video "It's All Blues To Me"

Thursday, September 29, 2016

Hillary vs Elvis 2016
Does Clinton believe Presley to have been a "deplorable?"

Singer Mary J. Blige's musical successes were commercial and era-bound in nature; she neither turned new creative soil nor was particularly interesting in her revisiting of cliches.

She did, though, slur her artistic superior. In 1997, Blige lied bold-facedly about the late Elvis Presley, deriding him without foundation as "racist."

The otherwise irrelevant Blige is a minor player in current political news. She is making quite the loud spectacle of herself on behalf of Hillary Clinton. 

In a simply tilted video interview spot soon to run online, Blige sings questions to Clinton. The candidate wears a pained, 'why in the hell did I agree to this?' expression, the same one she sported during her recent Between Two Ferns appearance. 

My guess is that some millennial vote-hunting campaign functionary was later disciplined roundly.

But Hillary's opportunistic embrace of Elvis-hater Blige neatly illustrates a larger reality about her campaign, as well as of an evolving foul and nonsensical cultural trend. In this addled movement, everything established, successful, reasonable, and traditional is to be reviled and plowed under. 

There is no distinction recognized between positives and negatives. By virtue of vintage, all are equally opprobrious. 

To have enjoyed previous cultural cache, goes the fury-brained half-thinking, is to be (pick one or more) racist, sexist, xenophobic, homophobic, etc. And, hence, the despised enemy to be strangled by the marching, sign-hefting forces of goodness.

In this undisciplined era of anarchic tumult, Hillary Clinton has made manifest her sympathy: Out with the old, and in with the new. Elvis would be counted as an 'irredeemable deplorable,' by her rancid arithmetic. 

(Never mind that they don't get much older than she; not unlike celebrity backers Cher and Madonna, Hillary seeks to reinvent herself for the incoming generation of ticket buyers.)

Given her amoral calculating, it is logical -- albeit still thoroughly despicable -- that Clinton cast her lot with rampaging, violent, and destructive street thugs over law officers representing decent and orderly American society. 

At this point, a stipulation cries out to be acknowledged. No candidate can reasonably be assumed to share every belief of their backers. 

A major misjudgement was made by news media commentators challenging Donald Trump to publicly distance himself from stray unsavory supporters. Such outsiders had without invitation sought greater visibility by attaching themselves to his more popular and spotlighted effort.

It was unreasonable to demand that Trump acknowledge them as legitimately worth attention. But as we've seen in this election season, reasonableness is most clearly not a mainstream media ambition.

There is a considerable difference, though, between that and the Hillary/Blige case: The Democratic candidate chose her association with the Elvis-smearing singer of long-since-gone renown.

Hillary does not necessarily share Blige's deceitful, noxious prejudice. But by uncritically availing herself of the faded pop luminary's aid and comfort -- and, in a very real larger sense, with the bedraggled, anarchic assassins of all-that-came-before -- she certainly is positing this metaphorical choice:

You can stand with either Elvis Presley or Hillary Clinton. Can't be both.


Mike Eldred Trio
Baptist Town (CEN/RED)

Sometimes, it seems like men have been so beat down and suffered so that even when they're put under, their ache and sorrow snake back up out of deep Southern soil. Darkened memories of tortures hang in the air like tormented spirits, moaning heartbreak testament into eternity. And no one ever learns.

At Mike's elbow when he laid down these appropriately sparse, flesh-made-blues narratives of worldly woes were Blasters John Bazz and Jerry Angel. Robert Cray, Los Lobos' David Hidalgo, and John Mayer added their qualities to recording services convened at Sun Studios, a hallowed site where common men wrought treasure from natural human experience.

Recommended "Baptist Town," "Black Annie," "Sugar Shake," "Hundred Dollar Bill," "Hoodoo Man," "Papa Jegbo," "Roadside Shrine"

Video: narrated CD promo, filmed at Sun Records

In 1997, Mary J. Blige slurred the late Elvis Presley, falsely declaring that he'd been "racist."

In coming days, Blige's interview of Hillary Clinton will air.

Of course, Hillary Clinton does not necessarily share each of Blige's opinions. But her uncritical association with Blige does merit observation.

And that Blige was so willing to be deceitful, encouraging of racial division, and bold-facedly smearing of the deceased Presley is to her lasting discredit.

With that recent development an inspiration, I'm reprinting a past essay:

To Smear a King:
Crossing swords with the power of myth
by DC Larson

It has become something of a tradition, albeit a regrettable one. As the August anniversary of Elvis Presley's 1977 death approaches, self-righteous hectors villify him as "racist."

It is a false claim, though for some one not requiring that examinable evidence ever be produced. But putting one's hands on contrary testimony is easily done.

The myth-debunking website (on its "Urban Legends Reference Page") details the origin of the counterfeit claim. The site cites Michael T. Bertrand's book "Race, Rock, and Elvis."

Bertrand had found that the April 1957 issue of the white-owned Sepia magazine contained the article, "How Negroes Feel About Elvis." The piece noted that, "colored opinion about the hydromatically-hipped hillbilly from Mississippi runs the gamut from caustic condemnation to ardent admiration." It offered views allegedly collected from both celebrities and "people in the street."

Snopes writes, "Presumably from the 'people in the street' came the infamous and uncredited quotation, "The only thing Negroes can do for me is shine my shoes and buy my records."

Sepia sought input from African-American Minister Milton Perry. "I feel," Perry told the magazine, "that an overwhelming majority of people who know him speak of this boy who practices humility and a love for racial harmony. I learned that he is not too proud or important to speak to anyone and to spend time with his fans of whatever color, wherever and whenever they approach him."

It was not long, though, before the anonymous, 'people in the street' comment was being falsely attributed to the singer, himself. Again, Snopes. "The rumor grew and spread throughout 1957. It mattered not that the story came cloaked in impossible details, such as Elvis supposedly making the statement in Boston (a city he had never visited) or on Edward R. Murrow's Person To Person television program (on which Elvis never appeared)."

Unable to source the rumored comment, the website records, Jet magazine sent reporter Louie Robinson to interview Presley on the "Jailhouse Rock" set. ("The 'Pelvis' Gives His Views On Vicious anti-Negro slur" Jet, August 1, 1957)

"I never said anything like that," Presley told Robinson. "And people who know me know I wouldn't have said that."

A number of fellow musicians, whites and blacks, came to Presley's defense at the time. Notable among them was R&B singer Darlene Love, who had backed Presley with vocal group the Blossoms. "I would never think that Elvis Presley was a racist," Love was later quoted as saying in a 2002 article. "He was born in the South, and he probably grew up with that, but that doesn't mean he stayed that way." ("False Rumor Taints Elvis," Cox News Service, August 16, 2002)

(Other contradictory direct evidence exists on Charly Records's 2006 "The Million Dollar Quartet, 50th Anniversary Special Edition." In 1956, Sun Records alum Elvis joined Carl Perkins, Jerry Lee Lewis and Johnny Cash at the Memphis studio for an impromptu session. Prior to a loose, collective retelling of his then-chart hit, "Don't Be Cruel," Elvis related seeing Billy Ward and the Dominoes's recent cover performance of it. "Much better than that record of mine," Presley concedes. He describes Ward's onstage energy: "He was hittin' it, boy!" Jerry Lee responds, "Oh man, that's classic!" Performers naturally admiring a fellow performer; not a hint of color consciousness to be found.)

Myths, though, are of a seductive quality -- often for cultural reasons other than themselves. This popular legend-based anti-Elvis sentiment persists, with recent illustrations including Public Enemy's "Fight The Power" (1989) and Living Colour's "Elvis Is Dead" (1990).

(To his credit, Public Enemy's Chuck D. later expressed a more complex and nuanced opinion. He told a reporter, "As a musicologist -- and I consider myself one -- there was always a great deal of respect for Elvis, especially during his Sun sessions. As black people, we all knew that...My whole thing was the one-sidedness -- like, Elvis's status in America made it seem like nobody else counted. My heroes came before him. My heroes were probably his heroes..."Chuck D. Speaks on Elvis's Legacy," Associated Press, 8/12/02.)

As noted in an 8/11/07 New York Times op-ed ("How did Elvis get turned into a racist? ") by author Peter Guralnick, singer Mary J. Blige  also cited the scurrilous myth as if it were at all based in fact.

Of course rock'n'roll existed prior to Presley's 1954 recording debut at Sun Records in Memphis. It was in some cases electrifying and wondrous in ways known only to audiences and subsequent vinyl collectors.

But the national stage appearance of Crown Electric Co. truck driver Elvis marked -- not an example of white culture appropriating something blacks had already developed but for which they were denied credit -- but the emergence of the hitherto-unrepresented working class into popular culture visibility.

In early years, Elvis did perform for segregated audiences in the pre-Civil Rights-era South. But for critics highlighting that to be fair, they need to note that segregation of public facilities was then a matter of civil law and not of performers's choosing.

Some might hold that, that being the case, performers had a moral duty to refrain entirely from public performance. But that would have made performing impossible for all musicians, black as well as white. And for many, it's as much a calling as a profession.

A Memphis, Tennessee contemporary of Presley's, Paul Burlison first earned renown as lead guitarist for Johnny Burnette and the Rock'n'Roll Trio. I interviewed him for a 2000 Goldmine article. He shared something of what the situation was like for working musicians in that time and place.

Paul was in a country band in 1951, when he caught the attention of blues man Howlin' Wolf. He began backing Wolf on the latter's radio program, though due to racial codes, Burlison's name could not be cited in group introductions.

"The reason I didn't play in the clubs with him was because of the racial thing back then," Paul told me. He recalled having to enter black clubs through back doors and said of Wolf, "It was the same with him if he came up to where we were playing. We would have liked to have [played clubs together], of course. It just wasn't permitted in those days. Not in Memphis, anyhow."

(Before his death in 2003, Paul's credits included not only rockabilly genre pioneering giants the Rock'n'Roll Trio, but international solo work and a 1990s showcase at the Smithsonian Institution.)

The "Elvis was racist" article-of-faith mantra is an offshoot of the larger fiction holding against evidence that rock'n'roll is exclusively black in origin. But Tennessee rockabilly guitar man Carl Perkins did not sound like venerated shouter Big Joe Turner, nor did the frantic storms of Jerry Lee Lewis recall the risible and urbane stylings of Fats Waller -- though all helped develop the music.

In his invaluable volume, "Unsung Heroes of Rock'n'Roll," veteran music writer Nick Tosches noted that the burgeoning sound which spread across 1950s America began in regional pockets and was of mixed parentage.

"Rock'n'roll was not created solely by blacks or whites," wrote Tosches. Earlier, after dispatching mono-racial rock'n'roll creation arguments, the author observed, "One could make just as strong a case for Jews being the central ethnic group in rock'n'roll's early history; for it was they who produced many of the best songs, cultivated much of the greatest talent, and operated the majority of the pioneering record companies."

Difficult as it would be to construct an exhaustive review of early rock'n'roll without citing Doc Pomus, Mort Schuman, Les Bihari, or Sid Nathan, it is telling that many of today's race-as-creative-qualification theorists might not even be able to identify those men, significant to the style's germination though they were.

Rock'n'roll was more than just music, it acted as a socially-unifying wing of the growing civil rights movement, uniting people on the dance floor just as others would come together in polling places. (Not to paint an overly-rosy portrait. It was not the entire solution. But it did help immeasurably to spur the phenomenon.)

It is flatly anti-creative to argue as some do that an individual or community can "steal" art from another, and that instances of blended creation be discouraged and reviled. That's how art is created. One artist inspires another, an idea is raised up, turned around, and new art is born.

Concepts like ownership, territoriality and separatism are wholly foreign to the phenomenon. (Which is not to argue that these invalid notions are still not useful for some; indeed, Mos Def founds the narrative of his 2002 "Rock and Roll" upon that very sand.)

Too, this involves a fundamental issue, that of reason versus emotion. There is evidence -- which merits intellectual regard and can convert the unsympathetic -- and there is self-righteously uncritical passion. It is the latter that animates the "Elvis was racist" lie.

That untruth is comfortable within a cultural posture that pronounces it acceptable and proper for genuine histories of oppression and appropriation to be universally assigned so as to include any specific instance or individual the speaker might select.

It is a model in which an argument's merit turns not on soundness, on actual provability, but merely on the identity and cause of the arguer; in which unfounded partisan sentiment assumes all the legitimacy of objective fact and demands respect as such.

There is a long and reprehensible history of struggling artists being denied rightful due. And both black and white musicians were so victimized, indicating that the matter is one perhaps more of business predation and of class than racial prejudice.

Critics are correct to point out that elements of white-dominated mass popular culture have at times assumed and reinvented black culture-born idioms, while paying neither due acknowledgment nor recompense. Deserving artists went unnoticed -- and that was criminal.

But such critics expose themselves as intellectually illegitimate and unethical when they seek to superimpose that tragic broad reality upon every specific target that might be tactically magnetic, without benefit of evidence. (And yes, it is ironic that while Presley's 1950's white racist detractors despised his music's multi-racial sensibility, many of his contemporary ones castigate him for the identical reason.)

Elvis was one of many talented men and women whose music helped American popular culture become representative of all the country's people. To ignore that today and instead proffer slanderous myths is an affront not only to his contributions and the prize of racial unity but to the intellectual ideals of honesty and reason.


Wednesday, September 28, 2016

Teddy Boppers
Medicina (self)

On this jubilantly swinging, Spanish-language neo-rockabilly single, carbonated sax falls in with spartan, driving guitar/stand up drums/slap-bass corps. Eminently cat-styled, fully forceful zeal that acknowledges no stop signs. Put on a happy face!

Audio clip, "Medicina"

Video, in-club interview

Tuesday, September 27, 2016

April Mae and the June Bugs
Sun Kissed! (The Sun Studio Sessions) (self)

Wire bifocals perched midway down his nose, genial, old Doc Burford removed the stethoscope plugs from his ears and stepped back.

"Heart sounds strong," he declared. "Everything else checks out, too."

"So, how come lately I'm feelin' run down?" Burford's sad-eyed patient was confused.

"Well, sir," the doctor furrowed his brow. "Could be you're not gettin' enough countrybilly."


Burford opened a cabinet. Reaching past medicinal bottles, he took down a CD.

"Here we go: April Mae and the June Bugs. This here''ll perk you right up. It's a real horn-honker!"

The patient examined the disc. "Looks good enough!" He peered at the doctor."And you're sure it'll fix right what's ailin' me?"

"Yessir! They're as hopped up as all get-out! She's a pistol! They got Jerry Lee's old drummer, J.M. Van Eaton...Bassman slappin' like he's goin' to town! And this cigar box guitar-playin' character, name of Catfish - land a'Goshen! What he can do with that thing could set a barn ablaze!"  

"Okay, Doc!" The patient brightened and reached back for his wallet. "You just made yourself a sale!"

Recommended "It's All About the Boogie," "Hard-Headed Woman," "Memphis Bound," "Grease It Up and Go"

VIDEO bio clip

Monday, September 26, 2016

Day of the Dead
Heartbreak Island (self)
Dead If You Don't (self)

Truly, no man yet breathes that has seen the transfixingly horrific spectacle of Ray Ban sunglasses-wearing Mad Daddy skeletons twisting and jerkily gyrating on moonlit surfside beaches as a ghostly transistor radio blares flipped-out rockin' from beyond. But we do have these bold and gripping audio slices -- startling, inspirational of exotic imaginings, and of spine-bending, star travel go-go aspect.

Recommended, Heartbreak Island 
"Death Valley," "The Last Stand," "Alamo,"

Recommended, Dead If You Don't 
"Damned If You Do," "Black Heart," "Queen of   Aces," "Midnight Murder Call," "Shadowland"

Video "Death Valley"

Sunday, September 25, 2016

Fun On Saturday Night (Rip Cat)

It is today as it ever was: The Blasters' mastery of American roots slang idioms, joyful evocation of those hardscrabble sounds' truest natures, and heart-bursting, ain't-nothin'-but-right melding of them into a spectacular whole slaps a silly grin on every mug in the joint. 

'Revival?' Hush up your mouth, fool. 'Cause this here Blue Line never stopped. And it never will. No sir.

Recommended "Fun On Saturday Night," "Love Me With a Feeling," "Well Oh Well," "I Don't Want Cha," "The Yodeling Mountaineer," "Breath of My Love," "Rock My Blues Away"

Video "Fun On a Saturday Night"

Saturday, September 24, 2016

Jim Liban and the Joel Paterson Trio
I Say What I Mean (Ventrella)

His harp afire with emotions too true to be anything but loudly brash, Jim uncovers for universal delight a stomping, hand-clapping, shouting-in-earthy-testament Chicago-style blues that bobs its brim and snaps its fingers into hazy wee hours. 

And it's indicative of Jim's guiding hipness, and also of the in-pocket groove worth of this thoroughly solid wax, that he enlisted the Joel Paterson trio, hot-damn crackerjacks of whom no high accolade could be superfluous.

Recommended "I Say What I Mean," "Stop On By," "Cottonweed," "Thank You For the Dance," "Cold Stuff"

Video "I Say What I Mean"

Friday, September 23, 2016

Creepin' Cadavers
In 3d (self)

Stormclouds touch shoulders in the nightmarish, darkened skies. All around, unrelenting sheets of icy rain drive down, savagely pummeling earth. Lightning flashes in erratic, unbound ballet. A gale-force wind rips up rickety, paint-peeled edifices surrounded by gnarled and barren oaks. And a madly rocketing, stitch-faced psychobilly punk creation rages with a violent loudness that shakes entire dimensions.  

Recommended "When the Lights Go Out," "Monochrome," "The Pigs Below," "The Wraith," "Hang With Us"

Video "When the Lights Go Out"

Thursday, September 22, 2016

DNA and the Cellarboys
s/t (self)

There's a big time rightness you can literally hear and feel when all the important elements flow in fraternity - the smart song craft, affably and determinedly swinging dispatch, a mood of high-spirited uplift. And yes, all those hale factors are in these snapped-tight, countrybilly grooves -- along with comfortably slung vocals and an electrically charged dynamism that ensures no hardwood floor will know a lonely night.

Recommended "Hey Little Lucy," "On the Road," "I Can't," "Reckon I Fall," "Never Look Back," "Ridin' In the Rain"

Video "Hey Little Lucy"

Tuesday, September 20, 2016

Stray Cats
Live At Rockpalast 
(Made In Germany Music)

The Stray ones weren't alone in the 70s/80s neo-rockabilly resurgence; other leading representatives included Robert Gordon, the Rockats, and the Blasters. But the singular lightning they had bottled was a bracing, raucous combination of Gene aggression and tuneful Eddie style. They stalked world stages, faces like fists, in the explosively defiant rebel tradition. These convulsive '81 and '83 Rockpalast uprisings emblazoned their gutsy essence. 2 CD and DVD set.

Recommended '81: "Rumble In Brighton," "Drink That Bottle Down," "Storm the Embassy," "Fishnet Stockings," "Gonna Ball,"
"Rock This Town," "She's Sexy and 17"

Recommended '83: "Double Talkin' Baby," "Something's Wrong With My Radio," "Look At That Cadillac," "Banjo Time (Foggy Mountain Breakdown," "Stray Cat Strut," "Built For Speed," "Too Hip, Gotta Go"

Video "Rumble In Brighton"