The Monarcs: Cuckoo (Yucca 45-172)
This 1964 effort comes from a New Mexico label notable as one of the first labels Bobby Fuller recorded for

The Crew: Hot Wire (Brass 45-2900-V)

Let me just start off by saying "WOW!" What a great piece of Link Wray-inspired rockin' boogie! This one goes at you full speed and doesn't stop for nothing. I know what you're saying: oh, no, here we go again! And you know what? You're right. It also chugs along like a train bound for nowhere with chunks of twangy electric guitar mixed in with a rumbling acoustic rhythm guitar, a pounding bass and an insane drum beat all mixed together for a tasty gumbo of a crazed instro bloodbath. Too bad the other side's a stinker called "The Big Junk." It opens with a toilet flushing (literally) and doesn't get any better. Stick with "Hot Wire" and you'll go through life a happy man.
The Mad Ladds: Midnight Terror (Trey 45-300)
More surf 'n'

The Channels: Earthquake (Mercury 71501x45)
EEEYOWZA!!! This 1959 record's got it all: a swingin' beat, loud, crude guitars

The Kelly Four: Guybo (Silver 45-1001)
This rockin'

Travis Wammack: Distortion Part 1/I Ain't Lying (ARA 45-209)

Ahh, Travis Wammack, he of the "Scratchy" ways! Wammack's work for Ara and Atlantic has made him one of my very favorite guitarists and this piece helps to demonstrate why. Saying something rocks may be an overused, cliched phrase, but both of these songs do just that. And Wammack simply locks, loads and opens fire, running off an impressive array of wild riffs, incredible stacatto runs and machine-gun solos on his guitar. I wouldn't be too surprised if he had to leave that guitar in a bucket of water when he was done by the way he smokes and scorches on it here and other records. Whenever you see a Travis Wammack 45 on Ara or Atlantic, by all means GET IT!
Willie Mitchell: Crawl Parts 1 and 2 (Hi 45-2044-V)

Here's one from Mr. Mitchell that I don't think I've ever seen before. And while it's not quite as great as such Mitchell classics as "Check Me," "Bad Eye," "Up Hard," "Kitten Korner" and "Ooh Baby (You Sure Turn Me On)", it's still a nifty little shaker in its own right. As with a lot of Mitchell's records, loads of snarling sax heat up the grooves, this time backed up with oodles of pumping piano and a rumbling bass line. The reason I say it's not as great as some of his others is that I think his best ones reach out and grab you, while this one kind of just plods a bit. But even lesser Mitchell is better than the best of a lot of others, and this is still a good one, so you win no matter what.
No comments:
Post a Comment