*** Rockas Roadhouse

Luna Vegas And Backhand - 10th March 2012


GET RHYTHM - The Wildest Rockabilly Weekender in Italy 2012


  1. 21.00 : DOORS OPEN
  2. 21.00 - 22.00 : Dj Carrie Hope (UK)
  3. 22.00 - 22.45 : the Wild Wax Combo (DK)
  4. 22.45 - 23.15 : Dj Josefin (SWE)
  5. 23.15 - 00.00 : MARS ATTACKS (CH/A)
  6. 00.00 - 00.45 : Dj Steve stack-o-wax (UK)
  7. 00.45 - 01.30 : ARSEN ROULETTE (USA)
  8. 01.30 - 02.30 : Dj Sputnik (NL)
  9. 02.30 - 03.30 : Dj Little Body Blue (DE)
  10. 03.30 - end : Dj Steve stack-o-wax (UK)


outdoor garden - The UNGAWA TIKI LOUNGE
  1. 13.00 - 14.00 : Dj Lukino - Savage Rock'n'Roll (IT)
  2. 14.00 - 15.00 : Dj Josefin (SWE)
  3. 15.00 - 16.00 : Dj Carrie Hope (UK)
  4. 16.00 - 17.00 : Dj Lukino - Savage Rock'n'Roll (IT)
  5. 17.00 - 18.00 : Johnny Cash tribute show with JOHNNY HORSEPOWER (DK)
  6. 18.00 - 19.00 : Dj Little Body Blue (DE)
  7. 19.00 - 20.00 : Dj Sputnik (NL)
indoor main stage
  1. 19.00: MAIN RESTAURANT OPENS (first floor)
  2. 21.30 - 22.00 : Dj Sputnik (NL)
  3. 22.00 - 22.45 : Pike Cavalero and the Gentle Bandoleros (SP)
  4. 22.45 - 23.15 : Dj Josefin (SWE)
  5. 23.15 - 00.00 : Keith Turner and the Southern Sound (UK)
  6. 00.00 - 00.30 : Dj Steve stack-o-wax (UK)
  7. 00.30 - 01.00 : CLEM SACCO (IT)
  8. 01.00 - 01.30 : Dj Little Body Blue (DE)
  9. 01.30 - 02.15 : THE PLAYBOYS (UK)
  10. 02.15 - 03.00 : Dj Sputnik (NL)
  11. 03.00 - 03.30 : Dj Carrie Hope (UK)
  12. 03.30 - 04.15 : Dj Steve stack-o-wax (UK)
  13. 04.15 - end : Dj Little Body Blue (DE)

SUNDAY 25th @ Main square of the city

  1. 11.30 - 13.00: Cars and lambretta cruise
  2. 13.00 - all afternoon: flea xafs
  3. 13.00 - all afternoon : Dj corner! come and play your records!
  4. confirmed djs: Carrie Hope,Giusy Wild, the Devil's Jukebox,Sleepy Gene,Dj Henry
  5. 15.00 - 18.00 : CAR CONTEST HOSTED BY CRUSING LIFE MAGAZINE (square 1)
  6. 15.00 - 18.00 : VESPE AND LAMBRETTE CONTEST (square 2)
  7. 16.00 - 17.00 : THE BACKSEAT BOOGIE (IT) - square 1
  8. 16.00 - 17.00 : THE BEAT BARONS (IT) - square 2
  9. 19.00 - 20.30 :Jam session - Let's have some fun!!

More information on:


Lee Rocker new album info

Lee Rocker has just released a new album called "Night Train To Memphis" which is clearly a nod to the late Carl Perkins.

In this album, Lee Rocker includes 12 songs (11 versions and one original), which in my opinion are very well done and performed. However, I must also say that I still have that reminiscence of his two albums with Big Blue back in the mid 90s. Tracklist of new album are:

1. Rockabilly Boogie
2. Night Train To Memphis
3. Slap The Bass
4. Twenty Flight Rock
5. Wild Child
6. Honey Don't
7. That's Alright Mama-Blue Moon
8. Tear In My Beer
9. Lonesome Tears
10. Built For Speed
11. So Sad
12. All I Have To Do Is Dream

Use following link to preview album on YouTube:


Collectors Items from People Like You Records

Great People Like You Records released two collectors items for fans of Mad Sin and The Meteors. Both items can be ordered from their site.

Ltd. „30th Anniversary Box“ contains:
- 4 legendary 180g, colored vinyl re-prints of classic THE METEORS recordings:
- Psychobilly
- These Evil Things
- Hymns For The Hellbound
- Hell Train Rollin + 1 ltd. black vinyl 7” containing rare & exclusive songs:
- No Surrender (Never Ever Mix)
- Maniac Rockers From Hell (Fuck The Old Days Mix) +1 exclusive THE METEORS slipmat
+1 exclusive THE METEORS belt with buckle +1 exclusive THE METEORS lanyard including ONE of seven legendary show flyers, prepared as backstage pass


- 4x 180g, colored vinyl re-prints of classic recordings:
- Survival Of The Sickest (Wolf's blood edition-cover glows in the dark)
- Sweet And Innocent… Loud And Dirty
- God Save The Sin
- Dead Moons Calling +1 ltd. colored vinyl 7” containing rare & exclusive songs:
- Wicked And Fast (rare)
- Sign Of The Times (previously unreleased)
- Boogieman (rare ) +1 exclusive slipmat +1 exclusive belt with buckle +1 exclusive lanyard including ONE of seven legendary show flyers, prepared as backstage pass



by Wendy Lebeau- Go Cat Go Den Mother, Cheerleader and Nagger

I first met Darren Spears late on a summer night in 1986. he was sitting on a picnic bench in his backyard strumming an acoustic and singing Elvis ballads to his dog. His voice was beautiful - smooth and resonant, strong and distinct. I was completely wowed. Later that year I met drummer Lance LeBeau who was soon telling me his dreams for starting a band. One day we were at a junk yard when Darren drove by on a fork lift. We had no idea that he worked there. "There's the guy who sings like Elvis," I said. They exchanged numbers and made vague plans to get together.

Late summer of 1988 they finally met up in Lance's basement, instruments in hand. They rounded up some high school friends to fill out the empty spots. The guitar player wanted to play Led Zeppelin and the bass guitar player, Paul Turley, was willing to play anything. At the end of a very long afternoon, Lance and Darren got them through a version of Gene Vincent's "Baby Blue." There was a spark.

A year passed before Lance, Darren, and Paul got together again. Darren called Lance and said, "Listen to this!" Lance heard someone picking "Mystery Train" on the other end. It was awesome. "Who is that?" Lance had to know. Darren laughed his dirty old man laugh. I could picture him wringing his hands with glee. "Oh, just an old friend of the family. D'you want to get together?" This time it was in front of Darren's neighbor's garage. Bill Hull, the mystery "Mystery Train" picker insisted that he was "just" a rhythm player while Darren shook his head and laughed. There was a bigger spark.

Practices continued in front of that garage. Neighbors dragged their lawn chairs over to watch. Strangers walking their dogs stopped to dance in the driveway. The guys knew they had something. After several weeks of wondering what to call themselves, Bill pointed to his car's license plate. "GOCATGO" it said. They all agreed that "Go Cat Go", a nod to Carl Perkins and the "Amen!" of rockabilly, said it all. It was immediately adopted as the band's name.

As the summer of 1989 drew to a close, Go Cat Go began to play local clubs and quickly drew the DC rockabilly fans to their side. Darren's high energy and skillful delivery of every song, Lance's insistent punch accented with timely rimshots, and Bill's unwavering stance while his fingers danced on his guitar kept people coming back for more and bringing their friends. It was just about right, but the electric bass, solidly played by Paul, wasn't getting the sound they were after.

In January of 1990, young Brian Freeman, all of 16, offered his services as upright bass player. Brian had classical training, a passion for rockabilly and the licks to prove it. Two weeks later, Brian played his first gig with Go Cat Go. The band worked hard to perfect some of Darren's collection of original songs. In March, they released a self-produced cassette tape entitled "Out of Control" with six of Darren's songs: "Who Was That Cat," "Forever's Much Too Long," "Time To Rock," "Please Mama Please," "'Till the Cool Cats Cry," and "10 Ways to Rock." Shortly after the release of the tape, they got the bug to do a vinyl record. It would be something they could show their grandkids.

In mid-1991, Go Cat Go recorded six more originals; five by Darren and one by Brian for the Rock-A-Billy Records Company in Denver, Colorado. This, the first 10-inch release from Rock-A-Billy Records (R-301-LP), was on purple vinyl. It included "Little Baby Doll," "I've Got My Eyes on You," "Can't Tie Me Down," "Big Train," "Other Side of Town," and "Lonesome Road." The response to the record, which was released in January of 1992, was overwhelmingly positive. Unfortunately, the record was released without a jacket due to the label's financial constraints. Nearly a year later, the band decided that there must be jackets. With the help of Ronnie Joyner, an outstanding local graphic artist and rockabilly fan, the striking jackets were completed and added to the remaining records.

Also in 1991, two alternate recordings of "Other Side of Town" and "I've Got My Eyes on You were released on Run Wild Records' Big D.C. Jamboree: Volume 2 CD (RW-303). Meanwhile, Rock-A-Billy Records was anxious to begin a second pressing of the LP, but there was a disagreement in terms, so it was never to be. The success of the record and encouragement from fellow musicians prompted the band to plan a short tour. They struck out for Texas in June of 1992 in a rented cargo van. It only had two seats. They took turns driving and suffering in the third and fourth "seats": a turned over five-gallon drywall compound bucket and a rolled out sleeping bag.

Two days into their trip, they were compelled to stop in Memphis, Tennessee for a tour of Sun Records. All long-time fans of the Sun recordings, the band could not leave the studio without recording there. Oddly enough, there happened to be studio time available that evening. Stranger still, a camera crew from the national television news show 48 Hours showed up and recorded the band's entire session for an episode entitled Crazy About Elvis. (The band's appearance on the show, which aired August 12, 1992, lasted less than one minute.) Go Cat Go recorded six songs at the Legendary Sun Studios: "Please Mama Please," "'Til the Cool Cats Cry," "Who Was That Cat," "Carl Perkins' "Honey Don't," Buddy Holly's "Blue Days Black Nights," Billy Lee Riley's Flyin' Saucers Rock 'n' Roll," and of course, "That's Alright Mama."

Once safely in Texas, the band teamed up with High Noon to play shows in and around Austin and Dallas for the next week. The band returned home tired but triumphant and very happy to be out of that van. They spent the next year working as often as they could. Brian was attending college in Richmond, Virginia, about two hours away, making getting together difficult. Aside from working, they began planning their July 1993 tour to California.

When July arrived Go Cat Go took off cross-country in a nice, cushy mini-van. The jam-packed schedule began in Hollywood with a spot on Ronnie Mack's Barndance at the Palomino Club. It continued to Anaheim with a stop at the Linda's Doll Hut for a show with the Dave and Deke Combo, then to the Casbah in San Diego with Big Sandy & the Fly-Rite Boys. Go Cat Go traveled and performed their way back up the coast until they reached San Francisco where they teamed up for more shows with Big Sandy. The tour culminated in a huge, hot warehouse party in San Francisco. At this show, they unveiled the newest song they had been working on, "Kiss Me Baby," a dark and sultry dare of a song. The crowd was entranced by it. "Kiss me Baby" defined the Go Cat Go "sound" and marked their musical direction. Sadly, it was never recorded by the whole band.

Brian returned home in August, full of excitement and plans. They were poised to take the next big step as a band. They were ready to quit their full-time jobs and school to turn all of their attention to recording and touring. They wanted to go to Europe for the summer of 1994. On September 14, 1993, a mere month after returning from California, Darren was shot without warning by three teenagers who wanted to steal the rifle he was using to hunt dove. On September 15, Darren died from his wounds.

Those involved in the crime were caught the next day - as they got on their buses to go to school. One got life + 99 years, the second got life in prison and the third, who didn't really do anything but stand there (and did not do anything to prevent it from happening) got five years.


Go Cat Go had been on the rise. The loss of Darren was and remains a devastation. The surviving members of Go Cat Go agreed that no-one could take Darren's place, so they went their separate ways. It was all over before they could go to Europe; before they could record anything more; before they could tackle any new songs from Darren's huge notebooks; before Darren could write anything else.

Brian is now finishing school after taking a few years off. Bill quit rockabilly all together, but continues to play guitar in another genre. Lance now plays drums with the Flea Bops and the Twilite Ramblers.

Source :


*** Upcoming rockabilly gigs


*** Upcoming psychobilly gigs

Boneyard Zombies & Vince Ripper & The Rodent Show Live

Nyc Psychobilly


City Slang: Rio will revive rockabilly


Rio & the Rockabilly Revival, featuring Rio Scafone, niece of legendary Detroit rockabilly dude Jack Scott, will celebrate the release of her debut EP at Orchid (141 W. Nine Mile in Ferndale) on Sunday, February 26.

It is an interesting story, and one we intend to focus on in a forthcoming City Slang. According to a statement, “When a rough, under-produced music demo by local band, Rio & the Rockabilly Revival went viral, front woman, Rio Scafone felt sick to her stomach. The demo recorded in a house in Royal Oak with a single room mic and the crudest of recording equipment has now gone from her worst nightmare to the little demo that could. Never intending to be released, it has now found its way onto playlists in the UK where rockabilly is practically a religion. The demo is now being released as an EP, as is.”

“We never intended for it to be heard outside of a small target audience, I was mortified,” Scafone says. “I mean, my uncle is a rockabilly legend, I didn’t want to embarrass him, was literally sick to my stomach. Never in our wildest dreams did we expect it to ‘grow legs’ like this and be heard much less accepted in the UK, the holy land of Rockabilly.”

Well, now the EP is set for release and Scafone will celebrate in Ferndale. That has to be worth checking out. For more information on Scafone, visit her Facebook page.


Mad Sin: Nine Lives Video Premiere

The long-awaited "Walltown Rumble" is finally finished. MAD SIN also launched their new homepage premiering their brand new video "Nine Lives". Check out the video and surf to the new MAD SIN HOMEPAGE to check for tourdates, pics and even more videos!

New video you can see on:


Viva Las Vegas 2012 Rockabilly Weekender





Big Sandy & Flyrite Boys
 Buzz Campbell

Hot Rod Trio

Royce Porter A Woman Can Make You Blue
Billy Harlan I Wanna Bop
Mac Curtis Grandaddys  Rockin,  If I Had Me A Woman
Don Woody Barking Up The Wrong Tree

The Calvanes Crazy Over You

Big Sandy & The Original Flyrite Trio
The Planet Rockers
The Jive Aces
JD McPherson
The Big Six

Si Cranstoun
Space Cadets
Nick Curran
Wayne Hancock
Jack Baymoore & Bandits
The Orbitunes

Full band list on:



The Troubled Three are a trio from Stockholm, Sweden that has successfully entered the rockabilly scene.
Out February 24 2012 on CD/LP/DOWNLOAD

They do not play ordinary rockabilly tunes and perhaps that is the key to their popularity. The members all come from a background in rock music and they have played pop, punk and rock in a variety of bands. When they began to take interest in older music they didn't listen to Elvis, but more to the roots of rock'n'roll music; rhythm & blues, jump blues, country and western swing. This forms their sound and without leaving the roots the band stands with one foot in the late 40's and the other one in the present. TTT find their inspiration in old artists such as Big Joe Turner, Roy Montrell and the Tielman Brothers. TTT's stage show is one of the most discussed issues. You never know who is balancing on which instrument, if drums will fly across the stage or if the members will show up in hula skirts. You can tell that TTT enjoy their time on stage.
TTT started playing together in 2009 and decided early that they wanted to get out in the world. They have done several tours in Sweden and they have also toured in Europe. During the spring of 2011 they participated in the TV program "Sweden's got Talent" on national television in front of over one million viewers. (Sweden has about nine million residents in total.) They made it all the way to the semi finals and did numerous festival gigs the following summer. Now it is time to release their first record with original songs, this on Heptown Records. The album release is followed by a European tour that ends on the festival Live & Jive in Katrineholm, Sweden where they are the first band ever to be booked two years in a row.
"What makes The Troubled Three such an amazing musical experience is their stage appearance. I have never seen a band this wild" Carl Carlsson - Ekuriren
"The Troubled Three made the visitors remember why - from time to time - you feel good about experiencing a live rock show" Catarina Nitz - Katrineholmskuriren
"The Troubled Three is making the scene young, energetic and raw again. We need that attitude around....." Live & Jive
Line up:
Rick LeMae - Behind the drums
Hucklebery Jerry - On the strat
Travellin' Tom - On top of the double bass



15 Feb - Mosebacke – Stockholm, Swe
16 Feb - TBA
17 Feb - Rosi's Amusier – Dresden – Germany
18 Feb - Cowboy Club Regensburg - Germany
19 Feb - White trash Berlin - Germany
20 Feb - Bassy club Berlin - Germany
21 Feb - TBA
22 Feb - CCCP Club - Berlin - Germany
23 Feb - TBA
24 Feb - The Dee Diner – Köpenhamn - Denmark
25 Feb – Live & Jive – Katrineholm, Swe


The Cramps: "File Under Sacred Music: Early Singles 1978-1981" / Album Pitchfork review

By Douglas Wolk; January 25, 2012

The Cramps were record collectors before they were a band. When Erick Purkhiser and Kristy Wallace met in 1972, they discovered they were both into the same kind of thing: the music of 15 years or so earlier that had been all about kitsch and shock and sleaze, with shitty sonics and snarling, hiccuping singers, and hilarious over-the-top bravado. In the early 1970s, being into "50s rock'n'roll" meant American Graffiti and Sha Na Na and "Happy Days". Wallace and Purkhiser preferred the nasty also-rans-- the records that actually tried to be the threat to society that people sometimes pretended pop music could be.

It wasn't much of a leap to starting their own band in the same mode. Purkhiser reinvented himself as Lux Interior, the slavering, writhing, nearly naked, ectomorphic frontman of the Cramps, and Wallace was Poison Ivy Rorschach, a "bad girl" in leather and wigs and velvet who tore off one ichor-dripping 12-bar guitar riff after another. They didn't have a whole lot in common with their early punk scenemates other than big guitar noise, but punk rock gave them license to do sleazy, shocking, sopping wet rock'n'roll without having to bother with the usual thin veneer of respectability.

The Cramps were an institution for over 30 years, until Lux's death in 2009. They were one of the few punk-era bands who were well served by aging, since they were trying to come off like creepy, depraved old people in the first place. But they were always a better singles band than an album band, and a way better live act than a singles band. Most of the songs that made their reputation are collected on this suitably trashy set. The vinyl version of File Under Sacred Music is, appropriately, a "collectible" box of the band's first 10 singles in replica sleeves--or rather, it would be except that four of them were never actually issued as singles at the time. (The Cramps always did snicker at anything that claimed to be authentic.)

That's probably the ideal way to hear this material: Lux, Ivy, and their ever-rotating associates made the kind of strong, silly records that are best in hot-sauce doses of between three and six minutes. They occasionally came up with fabulously personal-space-invading originals like "Human Fly" and "New Kind of Kick", the latter of which features two lines that explain their raison d'être: "Life is short/ Filled with stuff" and "I learned all I know by the age of nine." The better part of File Under Sacred Music, though, is the crate-digging covers that were their calling card.

Their first single (produced, like a lot of their early material, by Alex Chilton) was a cover of one of the most familiar trash-rock staples, "Surfin' Bird", extended to five minutes with a sloppy gnarl of guitar and drum noise. They subsequently shied away from anything that familiar. Instead, they turned their attention to obscurities whose quirks they exaggerated to the point of perversion. Jack Scott's "The Way I Walk" was slowed down to a psychotic limp, with Lux hyperventilating every line and Ivy screaming bloody murder in the background; Ronnie Cook & the Gaylads' nutty novelty "Goo Goo Muck" turned into a hilariously lascivious threat on which Lux shrieked, trilled, gurgled, and enunciated the title like it referred to whatever bodily fluids your parents feared most.

The title of File Under Sacred Music is a joke about the dusty record stores the Cramps loved, as well as about their own discography: Songs the Lord Taught Us was the title of their first album, Songs the Cramps Taught Us the name of one of the many series of bootlegs of the original songs they covered. But the amazing, out-of-control music they saved from oblivion could show them up, at least on record. To hear the Novas' feral pro-wrestling novelty "The Crusher" ("Do the hammerlock, ya turkeynecks!") next to the Cramps' cover is to understand the difference between lunatics who've somehow ended up with a mic in front of them and record collectors doing a solid, deliberate impression of lunatics.

01 – Surfin Bird
02 – The Way I Walk
03 – Human Fly
04 – Domino
05 – Lonesome Town
06 – Mystery Plane
07 – Fever
08 – Garbageman
09 – TV Set
10 – The Mad Daddy
11 – Drug Train
12 – Love Me
13 – I Can’t Hardly Stand It
14 – Twist & Shout
15 – Uranium Rock
16 – Goo Goo Muck
17 – She Said
18 – The Crusher
19 – Save It
20 – New Kind Of Kick
21 – Rockin’ Bones
22 – Voodoo Idol


The Hunter's growing rockabilly scene


Trends based on decades come and go. Looks from the 1970s, 1980s and 1990s have all made a comeback, seemingly in the past year alone. But they are fleeting and based on trend.

The passion felt by some people in the Hunter Region for the 1950s, however, goes deeper. It is more than just a look, it’s a lifestyle and even a form of income. And there is a definite ‘‘scene’’ for devotees.

The 1950s, backing up from the austerity of the post-war years, were a breath of fresh air. It was a decade of new beginnings, rock’n’roll was born and young people were not only seen, but heard.

Peita Breese {5th from left] with some of her students at the Great Northern Hotel. Picture by Ryan Osland

The term rockabilly initially described a style of music that fused rock’n’roll with country, or hillbilly, music. ‘‘Rockabilly’’ today is used in a broader sense to describe a subculture with a similar interest in the fashion, music, cars and dance of the 1950s. For many people, it becomes a lifestyle and they have a keen interest in all things retro, be they kitchen appliances, home decor or cars.

What’s old may be new again, but it inevitably comes with a modern twist. Sailor Jerry-style tattoos, and lots of them, for example, are a signature of the modern Greaser or Bettie. Dress-wise, women tend to fuse the rock’n’roll, pin-up and burlesque looks, and animal print is a must. Men favour the slicked-back hair and rolled-up jeans.

Weekender spoke to some of the decade’s biggest fans to find out what was so darn special about the rockabilly era.

In their own words, ’50s fanatics describe what the ‘‘scene’’ means to them. For some it’s all about the look, for others it’s about rebellion, the dancing and the music.

Brianna Brent, fashion designer and owner of Miss Lulu Clothing, Merewether:

I just love the timeless glamour of the pin-up look, and it’s a lot of fun. I love the lifestyle too – the dressing up, the cars, the tattoos, the music.

My understanding of pin-up is that, in the 1940s and 1950s, the guys working away or at war used to pin up pictures of their girl, or a celebrity of the time, on their wall. Celebrities back then often wore clingy dresses, bra-cut and waist-hugging, but they also wore the flared skirts. They really showed off the feminine shape, the hourglass silhouette. It’s very flattering. Rockabilly is a more general term used now to define the era.

Read full artical on:


Documentary about Mark "Sparky" Phillips

Giuseppe Valentino is an Italian film-maker working between Italy and Switzerland with an independent production company called Against The Static film.

Last year he wrote and shot a music video for a band called The Hillbilly Moon Explosion for a song they recorded with Mark "Sparky" Phillips, the singer of the Psychobilly band Demented Are Go. The song and the video became hugely successful with more than 500.000 views on the net.

During the video shoot, Sparky shared some personal experiences he had whilst touring in Europe, events connected with his extreme lifestyle that made him almost lose his mind off the shores of Barcelona. Giuseppe describes Sparky's personality as "Rock'n'Roll", "sweet" and "troubled". All the crazy stories Sparky shared with Giuseppe have now become the backbone for his new film based on true events... "THE BLOODSONG" An Independent film with themes of death, rage, loneliness and redemption with a strong and swinging rock 'n' roll soundtrack. Featuring Sparky - as himself!

More info:

And here's the page where they started up the funding for the film:

By contributing to the funding of this film you could receive a credit listing, tickets to see Demented are Go, Psychobilly merchandise...or much more!


Psychobilly Meeting 2012


William John Clifton "Bill" Haley (July 6, 1925 – February 9, 1981)


Arsen Roulette Live in Zagreb (with DJ Ivan Goran support)


HellFreaks + Grandpa Candys live date - Belgrade, Serbia


R.I.P. Al Urban (1935-2012)

March 01, 1935 - January 18, 2012
Al Urban, was born in Gonzales and passed away 76.

In 1957 he cut this here tune Lookin' For Money.Mr. Urban totally cut 3 singles for Sarg label. Sarg Records was founded by Charlie Fitch, based in Luling, Texas. The absolutely first recordings of Willie Nelson and Doug Sahm were issued at Sarg. Link Davis, Floyd Tillman, and more pretty unknown rockabillies roared into the mics at the Sarg label from Luling TX, as well.
Al Urban was born on a farm in Gonzales, Texas, on March 1, 1935. He began playing the guitar in his mid-teens and formed his first band, The Daybreakers, in the early fifties and obtained a regular gig at the popular Log Cabin Inn north of Luling. In 1956, Urban recorded his original songs Lookin’ For Money and I Don’t Want To Be Alone at Gold Star Studio in Houston. Al sent the master Tape to Charlie Fitch who agreed to release it on Sarg Records. The record debuted on November 30, 1956 receiving rave reviews from Billboard magazine. It was a modest hit and sold respectably. Urban was invited to appear on the Louisiana Hayride on the strength of the single. He was a prolific songwriter often returning to Bill Quinn’s Gold Star Studio on his own dime to record his compositions. George Jones was using the same studio during the same period and the two often shared the same backing band. Charlie Fitch released four more Urban records and passed on several others. Disgruntled with Fitch, Urban started his own label, Fang to promote his releases, and eventually recorded for several other small labels as well, including Kash and Tennessee. He continued to be an active performer, but tiring of the nightly grind; he began concentrating more on songwriting. His windfall came in 1971 when Charley Pride recorded several of his songs including the hit ,I’m Beginning to Believe My Own Lies that was included on the Grammy award winning album Charley Pride Sings Heart Songs.
Sources and Acknowledgments: Brown, Andrew. The Sarg Records Anthology. Book Accompaniment to CD Box Set: Bear Family Records. 1999 via
Al Urban YouTube links:




*** Upcoming events

Sick Sick Sinners In Paris 17/03/2012

3rd Psychobilly Earthquake


The Day the Music Died


A long long time ago
I can still remember how
That music used to make me smile
And I knew if I had my chance
That I could make those people dance
And maybe they'd be happy for a while
But February made me shiver
With every paper I'd deliver
Bad news on the doorstep
I couldn't take one more step
I can't remember if I cried
When I read about his widowed bride
But something touched me deep inside
**The day the music died**

Bye, bye Miss American Pie
Drove my Chevy to the levee but the levee was dry
Them good ole boys were drinking whiskey in Rye
Singin' this'll be the day that I die
This'll be the day that I die



*** Rocket 88 Event!


The rockabilly scene is alive and well


Celina Perez is anxious. A band she wants to see will be playing in Merced on Feb. 4. She looks very modern, with bright purple hair highlights. She has a piercing in her lip. She has a few tattoos that adorn her arms and shoulder. Yet for all these mod characteristics, her style is '50s rock 'n' roll. Her hair is styled big, in a pompadour with an enlarged bump on top and a bright red rose. Her jeans are pegged at the bottom as if she were heading for a sock hop.
Her friends seem to play the part of accessories to her own look. Some seem as if they come right out of an Elvis (Presley, not Costello) film -- except for the modern fashions, hair-coloring, tats and piercings. They look like '50s pin-up models for 2012 -- perfect makeup and not a hair out of place. 

submitted - Photo courtesy The Chop Tops

The Chop Tops, seen here in action, will headline VIVA! Merced on Feb. 4 at the Partisan. Celina and her friends are part of a growing subculture that has invaded California and is cruising through Merced.
The Greaser phenomenon is an interesting one, considering its roots are steeped in a decade that occurred more than 50 years back. On the traditional front, Rockabilly kids display a more classic look. Guys wear Levis that are cuffed, their hair is like that of the King of rock 'n' roll himself, they're clean-shaven -- but tattooed. They love vintage cars and join car clubs that sport pre-'65 vehicles. To see them you'd think 1959 was still here. My dad would totally love the scene.
But travel a little farther south in California and the Greaser scene morphs into something called Psychobilly. The look is still there, but now it carries a more punk-rock aesthetic. Pompadours take on new heights and looks. Some of those "quiff" hairstyles seem to rise six inches above the head. Shirts have become sleeveless with pictures of local SoCal Psychobilly bands silk-screened on them. They wear leopard-print shoes called "Creepers." Like their friends to the north, they also have car clubs and love tattoos.
You might be a little intimidated by their look. But no reason to be. Some, in fact, should be commended for helping people in society.
Enter Sophia Mendoza, president for the female social club, the Belladonna Beauties, a highly respected and recognized group of women who have strong roots in this scene. Mendoza is from Merced, but the club boasts members from Modesto, San Jose and Vacaville. Besides promoting events and supporting concerts like the one on Feb. 4, they schedule events that will help people.
"We are planning a concert in the next few months to benefit stroke victims, with the proceeds going to a local hospital," she said. "Also, we're doing a homeless awareness concert where donated canned food will act as admittance. We are also looking to work with women's empowerment groups as well."
Back to Celina's anxiousness and Feb. 4. Who's actually playing, representing this retro scene and bringing all these adoring people here? What do these people listen to?
Just as with its distinctive look, this scene has a distinctive sound. It's a look laced with a rock 'n' roll sound that was popular in '59, but revved up for a more modern time. Like all music scenes, there are patriarchs and matriarchs, and one of the patriarchs would definitely be the Chop Tops. They'll be headlining VIVA! Merced on Feb. 4 at the Partisan.
Also playing will be Modesto's Refuzniks, Merced's Gearbox, Sonora's Rockin' Rick and the Rhythm Wranglers, and Southern California's Full Tilt Trio. It all kicks off at 8 p.m. at 432 W. Main Street downtown.
Along with Celina, there will be a lot of other people from all over the Central Valley coming to Merced that night. The music may sound like "be-bop-a-lula," but the blue suede shoes will now be Creepers.

The author is a freelance writer and can be reached at  

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