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ssued under the rightful title, More Boss Black Rockers, The “Mojo” Man was charged with the (enviable) task of bringing these albums to life. To achieve such an outcome, More Boss Black Rockers Vol. 10: Lonely Lonely Train continues its exploration of Black African American rock ‘n’ roll by mining deep into the heart of a traditional rhythm and blues scene of 50’s America that eventually became rock ‘n’ roll, where you will hear established artists rubbing shoulders with the obscure. This is merely one segment of the attraction because the sounds blaring from the adjacent speakers is often wild in nature, raw and dangerous, just as it is scintillating, not to mention unhinged rock ‘n’ roll. Let’s face it, it’s the kinds of sounds that no doubt left many a jaw gaping as rock ‘n’ roll was ushered into the world for the very first time upon an innocent public, before evolving into the next big thing and continuing to resonate in the present with an equally feisty presence. Quick, flip that last quarter for the final visit to 50’s rock ‘n’ roll! Perusing the lengthy list of rock ‘n’ roll contenders from the setlist of More Boss Black Rockers Vol. 10: Lonely Lonely Train, any attempt to arrive at a favourite makes for an impossible task because, quite simply, there’s not a dud in the house. There’s diversity aplenty with this closing chapter, ranging from vocal harmony groups, rhythm & blues and, of course, rock ‘n’ roll. It’s that last genre which is the main focus as it makes its presence felt via opening salvo ‘Hickory Dickory Dock’ (Big Boy Myles), Jimmy Williams’ ‘C’mon Baby’, Edwin and Alvin’s ‘Shiverin’ and Shakin’, before Sonny Anderson enters the ring with Johnny and Dorsey’s ‘Lonely Lonely Train’. Further interest is generated by the vocal harmonies of The Jarmels’ ‘She Loves To Dance’, The Guytones’ ‘Baby I Don’t Care’, before shifting slightly with Little Richard who serves up a classy reminder with ‘Ain’t Nothin’ Happening’.