Atomicat

The triple CD anthology contains 93 songs that the rollicking family, including solo recordings from Rose, Fred, and Cal Maddox, all recorded up-tempo between 1947-1962, plus seven unreleased acetates. The Maddox family's raunchy recordings blended rhythm and blues, and country music titles, and through this amalgamation, rockabilly was in an embryotic development. The Maddox's fast-paced songs and brushfire shows ignited every concert hall they performed in. Fred Maddox was fond of saying the Maddox’s were always “ten years ahead of ourselves” his sister Rose would snap back with the retore “twenty!” Mama Says’ It's Naughty, Atomicat Records (ACCD 155) confirms their point of view in music! Atomicat Records endeavors to use some lesser-known and for some people, perhaps more obscure titles, and our philosophy is to compile songs of quality, with every album, its "killer and no filler” ideology! You are listening to music from the past with a remastered sound that will shake the speakers.

Billy Barton and Friends Atomicat Records (ACCD154) contains ninety-seven songs including thirty-seven previously unreleased acetate recordings from the years 1951-1962. Most certainly this is the largest exploration of the talented; musician, producer, and songwriter. Within this anthology you will discover an artist who recorded with Johnny Horton, wrote several hit recordings for other artists, and amazingly is mainly a footnote in music history.

Rock 'n' Roll Kittens Volume Six Hot Lick's encompasses 25 hot female rockers from the Golden Years 1956 through to 1963 plus one previously unreleased modern-day recording. Atomicat Records endeavors to use some lesser-known and for some, perhaps more obscure titles and adds something unexpected to every album. The album is ideal for Dee Jays to fill the dance floor with, and for home listening

Dora-Alabama-bred Terry Fell's contribution to the embryotic California music scene is the focus of Atomicat Records' (ACCD 149) Fireball Boogie. The triple ninety-four song CD anthology glorifies the career of Terry Fell. The songs recorded from 1945 to 1963 focus on Fell’s up-tempo recordings, and additionally included are, recordings from his Lode Record label, and artists who recorded his compositions. Within the anthology are 21 unreleased acetates, two of which are from his label signing Sammy Masters. Terry Fell was never a rocker, he sang country boogie which revivalists happily listened to, and made the style part of the rock ‘n’ roll scene. The album's 16-page sleeve notes will explain about the multi-talented Fell who; sang, played guitar, bass, and mandolin, owned Lode Records, wrote numerous songs, became involved in rock ‘n’ roll music, and this aspect of his career is available on the third CD. The release dates for Fell’s recordings are conflicting, therefore, the information within the booklet has been grouped by the label for ease of reading and explaining. The anthology also includes Fell’s only known TV appearance which was filmed on the 5th of November 1955 at the Ozark Jubilee. Fell was introduced by Red Foley, and sang his October 1955 RCA Victor release That’s What I Like, and the studio band featured guitarist Grady Martin. Terry Robert Fell was born in Dora, Alabama on the 13th of May 1921, and raised on a farm situated halfway between the cities of Jasper and Cullman. In 1937 he moved to California, and in 1938/39 his family joined him. He undertook voluntary work, developed his musical skills, and spent six months in military service, before finding regular employment as a press man at the Tru-Flex tire manufacturing plant. In the evenings Fell honed his musical skills and, became a member of Merle Lindsay's Oklahoma Night Riders and shortly afterwards he began to work with Billy Hughes and The Pals of The Pecos. From the association with Everette Ishmael "Billy" Hughes, Fell’s recording and songwriting career began. Between October 1945 and June 1946, Fell recorded three Memo Record label releases which were; I've Done All I Know To Do b/w You Ran Around (While I Was Gone), Paper Heart b/w You Don't Want Me, and There's A Gold Moon Shining (On A Blue, Blue Heart) b/w You're Not Wanted Here. He then signed to the Fargo Record label in 1946 and with His Red River Rangers recorded; Paper Heart b/w You Don't Want Me Any More, and they are radically different in arrangement from Memo recordings. In mid-1946 Fell signed for Howard Courtney who owned Courtney Records, and from this career move, he recorded as a named artist, and worked uncredited for; Lucky White and Dude Ranch Playboys, Douglas Venable and His Bar X Ranch Hands, and his most active participation was with Leodie Jackson and His Western Swingsters. The sessions and song information from this fertile association are fully explained in the album's sleeve notes. In 1947 Fell again label hopped and began a short association with the 4 Star Record label which issued Paper Heart b/w You Don't Want Me Any More, and the latter was the second use of the Memo recording. He then recorded three sides for the Guilt-Edge Record label including a boogie version of I Can Hear You Clucking (which he re-cut for RCA Victor). His swansong for the label Hillbilly Impersonations (Twelve Famous Singers) b/w Smoking Cornsilks was released in March 1953. He recorded a 4 Star custom pressing My Pretty Little Japanese b/w Dreamers Paradise for the Northwest Record label as Forrest Field, and the latter title was the Guilt-Edge recording reused. The labels were all associated with the 4 Star Record label, and at this point, Fell ended his association with small labels. Fell from 1948 onwards had to write an unspecified number of songs a month for Sylvester Long Cross’s American Music, and he branched out with his style as the decades advanced. Fell wrote several songs with a rock 'n' roll appeal, and included on this release are; Curtis Gordon’s 1956 rocker (Mercury 70933X45) Play The Music Louder which is more widely known than Fell’s version. For the Liberty Record label Eddie Cochran sang in 1957 Cradle Baby, and the label posthumously released in 1962 Never, and the UK release erroneously credits Merle Travis as the writer. In 1958 Fell co-wrote the flip side of Jeani Mack's Class Record label recording Dirty Dishes. We include from 1961 Hank Locklin's RCA Victor version of You're The Reason, and from 1962 an energetic version of the truck driver anthem by Bill Woods Truck Driving Man. Which was issued by the Rose Record label Returning to Fell’s recording career, after a year's hiatus from the recording studio came what is considered Fell’s most well-known recording years. Fell was signed in late 1953 early 1954 to RCA's "X" imprint and recorded five releases for the company with four out of five releases crediting The Fellers. Fell kicked off his new recording association with a four-song session held in March 1954 with the most well-known release being Don't Drop It b/w Truck Driving Man. It was Don't Drop It which gave Fell his first chart hit rising to # 4. The song has been recorded by among many; Tommy Sands, Red Sovine, Betty Amos, Wilbert Harrison, and Jerry Lee Lewis. Truck Driving Man amazingly failed to chart although it went on to become a country standard, amounting to over 90 cover versions by such artists as; The Green River Boys featuring Glen Campbell, Bill Woods, Buck Owens and His Buckaroos, and Rick Nelson. Five months after his 34th birthday the "X" label severed its association with country music and Fell was signed to its major label RCA Victor. Fell’s new label produced six releases (plus two songs held in the can) and used two of his recordings for a shared EP. One of the sessions resulted in a rerecording of Guilt-Edge title I Can Hear You Cluckin' B/w Don't Do It, Joe. Fell’s swan song for the label Wham! Bam! Hot Ziggity Zam b/w Consolation Prize came from his 10th February 1956 session and failed to create a hit. The top side was from the pen of Aaron Harold Schroeder whose writing credits for others include; A Big Hunk O' Love, I Got Stung, 24 Hours From Tulsa, and many more. The flip side, a country tale of lost love, was vocally strong but dated, and the coupling was unbalanced, and this ended his tenure with RCA Victor. In 1958 Fell set about establishing his Lode Records and Lode Publishing, he also worked as a session producer and session musician. The in-house company was operated from his home address, 10759, Little Lake Road, Downey, California. Fireball Boogie features several of the labels’ recordings, including Fell’s named sides and his nom de plume Johnny Valentine on the album, the release spotlights his most creative and well-known artist, Sammy Masters. In September 1959 Fell produced two Sammy Masters recordings and leased them to Warner Brothers Record label. The company added reverb to the Rockin' Redwing b/w Lonely Weekend master, and this version was only released in Europe. Fell was unhappy with the over-dubs and released his Lode Record label master sans reverb in 1960, and this version which is included in the release peaked at # 64 in the Billboard charts. Masters also wrote two recordings for Fell to publish which he recorded onto acetate, Hootenanny Hill, and Jenny Come Down, these songs were never commercially released and are made available for the first time on this album. In April 1960 Fell while managing Lode Records recorded two sides for his publishing agent Sylvester Long Cross's Crest Record label. The release was Y' All Be Good Now b/w Who Who's, Fell wrote the top side and a name that Eddie Cochran fans will recognize Dale Fitzsimmons wrote the flip side. Both of these songs have never been reissued, and we proudly make them available. Fell after residing in Downey, California for twenty-six years relocated to Nashville, Tennessee in 1962. In Nashville, Fell rarely publicly performed, in part due to throat problems, and worked as a songwriter until he retired. The Lode label activity only began to indicate the Nashville address on its labels in 1975. The information about Terry Fell is greatly improved from a transcript provided by The Country Music Foundation in Nashville, Tennessee. Patricia Hall’s probing interview with Terry Fell was held on the 12th of December 1975 in Nashville, Tennessee. Fireball Boogie has a sixteen pages booklet and a discography. The album is housed in an attractively designed cardboard sleeve, specially designed to avoid the use of plastic and be environmentally friendly. The album has a stunning design by artist Urban Zotel and sleeve notes from reissue producer Dee Jay Mark Armstrong. Heiko Schulz at the Black Shack Recordings oversaw the acetate cleaning and The Studio That Time Forgot, El Paso Texas mastered the albums. Atomicat Records endeavors to use some lesser-known and for some, perhaps more obscure titles and adds something unexpected to every album. The album is ideal for Dee Jays to fill the dance floor with, and for home listening or while cruising around and scaring the neighborhood. You are listening to music from the past and preserving the future! Rockstar Records 'Often imitated, never duplicated.” All that remains is to say, "Crank up the volume and dig these musical gems.” Dee Jay Mark Armstrong Bühl, Germany

Volume six of the Rockin Spot series. ACCD170 The Rockin Spot V6 Belinda

Cliffie Stone the Legendary Capitol Records Double Bassist and more! 30 recordings highlight his career.

The Many Sides Of Buck Owens – Right After The Dance

Whip Masters Instrumental Vol. 1

Whip Masters Instrumentals Volume 4 (Atomicat) Just when you think an album series has reached its conclusion, up springs another volume. Certainly, a surprise given the gap since its last album release, and definitely welcome considering the high quality of its predecessors, Whip Masters Instrumentals Volume 4 sees another round of instrumental tracks compiled for your listening pleasure. DeeJay Mark Armstrong is the man responsible for gathering the thirty tracks included here, bringing together a “stylized” and “rousing” collection that starts in 1955, and finishes somewhere in 1963. As with many of Atomicat album releases, the songs featured include plenty of established names, but where these albums often standout from the rest of the pack is the inclusion of lesserknown figures with equally compelling tracks. First to feature on the album Whip Masters Instrumentals Volume 4 is The Montereys with ‘Rocker’ that begins with chiming guitars and then drums, before developing into a fuller sound where instruments demonstrate respect for each other during this fantastic opening song. From there you will experience further excitement with the dangerous sounding ‘Taylor’s Rock’ from the hands of Bob Taylor and The Counts, to an interesting turn with plenty of saxophone from The Rumblers and ‘Boss’. Broader inclusions under this rock ‘n’ roll umbrella can be heard with bluegrass and country instrumentals from Bill Monroe (‘Wheel Hoss’), and Little Jimmy Dickens with The Country Boys (‘Red Wing’). No rock ‘n’ roll instrumental album is complete without a bit of Link Wray, who features with The Raymen during ‘Turnpike U.S.A.’, making Volume 4 of this album series another fine addition. Nathan Olsen-Haines (Atomicat)

Whip Masters Instrumentals Volume 5 (Atomicat) With the announcement of Whip Masters Instrumentals Volume 4 recently from Atomicat, the next instalment of this album series arrives with, naturally, Whip Masters Instrumentals Volume 5. Sourcing material from the years 1952 to 1963, and providing another track list of thirty tracks, is DeeJay Mark Armstrong. As lesserknown artists sit next to established artists, and various genres considered from (mainly) rock ‘n’ roll, to blues, traditional rhythm and blues, and various strands of country, there’s plenty to whet the appetite as far as the contents are concerned. If a melding of bluesy-rock ‘n’ roll is of particular interest, then such an example can be heard early on via raucous ‘Braggin’ supplied by Bob Moore And The Temps. With variation aplenty, Volume 5 introduces early 60’s material with The Satellites’ ‘Ali-Baba’, and big band with much organ playing of ‘Comin’ Home Baby’ from Ernie Freeman Combo. Link Wray And The Wraymen arrive in town once more, and this time with engaging ‘Slinky’. Those listeners who enjoy instrumentals featuring the genre of country will be pleased to know that such tracks can be heard during Volume 5 with Johnnie And Jack And The Tennessee Mountain Boys’ ‘Yeah’. From such compelling inclusions more can be experienced through delightful popcorn-esque ‘The Grunt’ provided by The Fifty Milers, to surf instrumental rocker ‘Woody Wagon’ by Manual And The Renegades, before more delights via pacy rock ‘n’ roll instrumentals ‘Ad Lib’ (The Galaxies), The Starfires (‘Chartreuse Caboose’), and The Losers with ‘Snake Eyes’. Another round of Whip Masters Instrumentals sees Volume 5 turning up the heat further with a collection instrumentals that also offer plenty of variation in terms of genres with enough to suggest this album series will continue for some time yet. Nathan Olsen-Haines (Atomicat)

“Caddies were the ultimate expression of America's post-war prosperity and the 1950s dream. The automobile brand will be one-hundred and twenty years old on 22 August 2022, and Atomicat Records shines its headlights onto the Cadillac car with an inspiring variety of songs. The concept of the Cadillac car was the brainchild of; William Murphy, Lemuel Bowen, and Henry M. Leland who designed the first-ever Cadillac car in 1902, and this album is dedicated to them and their automobile which became synonymous with the "Fabulous Fifties." Atomicat Records Anniversary series celebrates 120 Years of the Cadillac Car (ACCD117) with thirty motorvatin' songs from 1948 through to 1962 paying homage to the gadget-laden "Fabulous Fifties" dream car. Atomicat takes a different slant to the topic, and we source songs from the genres of Rhythm & Blues, Blues, Doo-Wop, Rock ‘n’ Roll, and Hillbilly. Then we dig a little deeper and include groups named after the automobile, and finally songs that have Cadillac in the lyrics. Atomicat’s seven-dimension tribute allows you can hear how the car entered into the different cultures and influenced songwriters.

"Ford cars were an affordable drive, and from the late 1940s onwards youths customised them into hot rods with twin pipes and a Columbia butt. For you folks who don't dig the jive, that's two carburettors and an overdrive.The thirty song album 121 Years Of The Ford Car is a rockin' tribute in music to Henry Ford's designs." The Atomicat Records Anniversary series shines its headlights onto Henry Ford's company and celebrates 121 Years Of The Ford Car (ACCD147). "Well gather around friends while I tell you a story about a Model-A Ford." In words and music, we explore Ford cars' influence and appearance in music. This album is dedicated to Henry Ford's dream and the brand which became synonymous with the "Fabulous Fifties." The Ford Motor Company was founded by Henry Ford on the 16th of June 1903, and in that year the company produced the first Model-A car. Atomicat Records celebrates 121 years of the Ford car with thirty songs, one of which is from 1948, and the remainder are sourced from the years 1952 through to 1962. The featured songs were inspired by the automobile whether in title, verse, or simply the artists took the group name from a Ford model. The album's music is sourced from several genres; jumping Rhythm & Blues, beatie Rock 'n’ Roll, rustic Hillbilly, and sweet Doo-Wop.

Atomicat Hootenanny

Foot tapping, rockers with that crazy beat, all served up Atomicat style.

Hot Rods, pretty girls, and parting all served up Atomicat style.

Dynamite Darlings, love, and dancing, all served up Atomicat style.

Blue jeans sweeties, and fun at 4 O'Clock, all served up Atomicat style.

The dungaree cutie invites you to party.

Atomicat Rockers Vol.6 - The Juke Box Man

The Billy Strange trail: Climb Aboard The Hell Train!