10``LP
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Ruby Ann - Mama’s Back (10``LP)
€9,90Quick ViewIt’s been a long time since we rock ‘n’ rolled! Ten years to be exact when considering Ruby Ann’s seminal record, Mama’s Back. Celebrating a decade in existence, parent company Rhythm Bomb Records, saluting their own milestone of twenty years in business, is affording special treatment to a “bestselling” album by issuing Mama’s Back on vinyl. Released on wax for the first time therefore, Mama’s Back lives up to its title and gets a chance to do it all again in 2023. Deserving of such attention, and not only for its previous sales figures generating mindboggling statistics at the end of the financial year, no, more importantly because of the critical acclaim Mama’s Back received upon its initial release in the UK and Europe for its contents of innovative renditions of vintage period songs, and with a smattering of original compositions as well. When experiencing Mama’s Back for the first time, it transports the listener to a land and time that aficionados of the golden years of music (namely the 50s) never forgot but, unfortunately, never had the opportunity to witness first-hand either. Step forward Ruby Ann and her interpretation of a landmark period in the history of music by reproducing an authentic 50s sound, but also stamping her own personality throughout Mama’s Back. A large part of her authority is contained and demonstrated by a voice that is lined in silver and gold, and with comparisons made with several of the pioneers of rockabilly and associated female rockers with, most conspicuously, Wanda Jackson. With plenty of fire in the belly as illustrated by many of the tracks chalked up on Mama’s Back, it is often a full-blooded and gutsy affair. A confident record, and one that, despite serious setbacks on the road to seeking a lasting connection with the opposite sex, it knows what it desires. The song titles alone provide plenty of clues as to the Heartbreak Hotel here, but in reply, Mama’s Back is not a self-pitying cry, nor is it weak to the touch because it’s never unwitting to the experiences unfurling. In fact, it can be defiant, a record that’s not afraid to move on and seek fresh experiences as indicated by the Elvis inspired, and Eddie Bush penned, ‘Baby I Don’t Care’, to glimmer of hope via noirish edge generated by the instruments of ‘Your Mama’s Here’, before finding solace during a souped-up reading of Lance Roberts’ ‘I’m Gonna Have Myself A Ball’. The omission of four tracks from the original album release, does not diminish the overall quality and listening experience of Mama’s Back. By formatting the track list to vinyl, the ten songs scrutinised and selected for their inclusion, provides an even closer insight to the melancholy at the heart of this record. With experienced hands-on deck including Axel Praefcke (production) contributing ‘Knocked Out, No Love’, and additional drums/guitars, Mama’s Back was recorded at Lightning Recorders (Berlin) with rest of assembled cast of Carsten Harbeck (Bass), Ike Stoye (Guitar/Piano), Michael Kirscht (Lead Guitar), and Round Up Boys (Backing Vocals). Despite a successful working relationship, Mama’s Back is, and remains, Ruby Ann’s record because of the presence she exerts over this album by injecting its contents with a sincerity, and therefore giving the impression of these songs as entirely her own creations. Remarkable! And, even now, Mama’s Back still resonates with a fiery passion that renders it a thoroughly compelling listen and one that refuses to be ignored as it hollers, “Mama’s Back!”.
Nathan Olsen-Haines (Rhythm Bomb Records)
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Cherry Casino And The Gamblers - Lets Play Around (10``LP)
€9,90Quick ViewIssued for the first time on vinyl is Berlin’s hot ticket for authentic rhythm and blues, Cherry Casino and the Gamblers’ Let’s Play Around. Reason to celebrate therefore, but also as a mark of respect for an album that, upon its initial release of CD only, shifted more units than a baker’s bag squeezed full of German strudels, that’s how much it was appreciated. Given that the album’s parent company, Rhythm Bomb Records (RBR) is marking its own anniversary of twenty years in business, and still going strong with a conveyor belt of new and established artists making records, owner and creator of RBR, Ralph Braband gave the greenlight for reissuing Cherry Casino and the Gamblers’ debut long player. With the track list scrutinised over and whittled down to a manageable number fitting for a vinyl release, the listener will experience a band in their infancy yet sounding like seasoned professionals. Such experience is down to the personnel involved, with each and every member of “the Gamblers” having lived and breathed rockin’ music from an early age, and frequenting numerous combos over the years. Comprising therefore of frontman himself, Cherry Casino (real name Axel Praefcke) on vocals and guitar, in addition to Ike Stoye (Saxophone), Michael “Humpty” Kirscht (Rhythm Guitar), Torsten Peukert (Drums), and “Lucky” Lehmann (Bass), Let’s Play Around was conceived in 2006. From raw and primitive beginnings in the form of ‘Huh Baby’ with its shuffling rhythm and ringing guitar striking a definite chord, to rather unique presentation of storytelling that is mighty fine ‘Did You Hear That Door Slam?’, before arriving at the heart-breaking realisation of an untenable relationship depicted during ‘You’re Too High For Me’, with conformation arriving in harmonious backing vocals reminiscent of The Jordanaires, for example, rounding off this track in style. From its prime position, Let’s Play Around reads like a menu consisting of all the ingredients when experiencing a rollercoaster ride of emotions that will be familiar to many, and one that even provides a moment of respite midway through with ‘A Bar Called Moe’s’. With all the heartache involved, the album, Let’s Play Around eventually finds consolation during its finale of first, Chuck Berry-esque intro and celebratory ‘Girl Next Door’, to the loose feel of rhythm and blues and Cherry Casino dominating upfront via the title track, before finally wiping the blues away with a lively, finger-snapping rhythm of ‘Rockin’ and Rollin’. A moment in history which, from its home of Lightning Recorders, now resurfaces in 2023 and is poised to relive the gamut of emotions expressed during its first wild and heady run of rhythm and blues, Let’s Play Around receives a deserved opportunity to do this all again, and also offers a chance for those new to the sounds and vision of Cherry Casino and the Gamblers to experience traditional rhythm and blues, and hear an album in all its natural glory. Bestowed the vinyl treatment, Let’s Play Around is a remarkable debut and one worth celebrating. Enjoy! Nathan Olsen-Haines (Rhythm Bomb Records)
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Boorer Boz - Back To Neo… (10``LP)
€20,00Quick ViewWhat we have here is an eight-track mini-album from Boz Boorer and it’s a belter. Boz really needs no introduction, but for the sake of the truly introverted, he is the guitarist from early 1980s’ rockabilly giants the Polecats. For the past thirty years Boz has been Morrissey’s right-and man and co-writer, whilst also running his own studio, periodically releasing solo albums as well as producing many other artists.
The first track on the record is an inspired cover of the Elvis Hitler classic ‘Cool Daddy In A Cadillac’. The vocals on this track are handled in masterful fashion by head Space Waster Mick Lammond. The song is propelled along by the duelling guitars of Boz and James Walbourne of the Pretenders – it is a joy to behold.
The next track is co-written by Boz. ‘The Last Man Left Alive’’, sees the pace slowed markedly on this rather melancholy track, that tells quite a lyrical story citing John Donne’s ‘no man is an island’ along the way – a sort of intellectubilly if you will. The story based on the Twilight Zone episode ‘Enough Time At Last’ tells the story of Henry Bemis, a bank teller and a very bookish man, who has to read at work because his wife at home won’t let him read. Henry goes to the bank vault on his lunch break and while there an H bomb goes off. Henry then emerges from the rubble whereupon he is on the cusp of suicide until he discovers the ruins of a public library replete with the complete works of Dickens and George Bernard Shaw. He is visibly cheered by having the time to read all the great works of literature. Having sorted all of the books into piles, he then drops his pebble lenses which fall to the floor and shatter – a ‘cruel irony’ indeed!
‘No, No, No,’ is cover of the classic by Jay Swan, but where it stands head and shoulders above other versions is in the double bass, played by Phil Polecat, that provides such a wonderful pulse to the track. The track was actually recorded a couple of years ago but had sat in the vaults until Boz, wisely, came to the conclusion that it was too good not to do anything with.
The next track quickens the pace with a cracking version of ‘Pretty Baby’, a song recorded in 1958 on the Perspective label by the Vibes featuring Ronnie Franklin on vocals and also featuring David Gates who went on to have an enormous hit record in the 1970s with Bread and in particular with the song ‘Baby I’m A Want You’ With pumping piano, reverb-drenched vocals, and some tasty guitar solos, it sounds remarkably like the sadly departed Cavan Grogan.
‘Running From The Reaper’ begins like a Screamin’Lord Sutch number, but then reverts to a similar style to the ‘Last Man Left Alive’’ with a very rootsy feel to it. ‘Séance for Lux’ is part glam rock, part psychobilly it’s a cracker with the rhythm being pounded out on the floor tom and the multi-tracked vocal chorus – it is quite sublime.
The lyricist on ‘Séance For Lux’, ‘The Last Man Left Alive’, ‘Running From The Reaper’ and ‘Take Me To Your Leader’ was an old mate of Boz, Anthony Brown, who used to be the singer in Sheffield indie band the Anklestar.
‘Take Me to Your Leader’ has a terrific groove to it and is another Boz original, once again with a psychobilly smell to it. The final track Waxahatchie Warrior has a real Ronnie Dawson feel about it; so, it comes as little surprise to hear from Boz that ‘it’s a tribute to Ronnie’ Waxahatchie being the place from where Ronnie came.
This is a classy slab of varied rockabilly from a giant on the scene who shows absolutely no signs of slowing down and on evidence such as this, why on earth should he?
”Nick Kemp UK Rock & Roll Magazine”
