Dayvk Martins

the fourth album of B.B. and the Blues Shacks on Rhythm Bomb is out! 11 own songs plus 4 covers make " Blues Is A Stew " a milestone in their recording career. Recorded at Tomi Leinos analog studio in Finland, artwork by Dayvk Martins from Brazil. Blues is a universal language and sometimes its a stew!

the fourth album of B.B. and the Blues Shacks on Rhythm Bomb is out! " Blues Is A Stew " a milestone in their recording career. Recorded at Tomi Leinos analog studio in Finland, artwork by Dayvk Martins from Brazil. Blues is a universal language and sometimes its a stew!

Lonesome In The Moonlight is the fourth album from B. B. and The Blues Shacks recorded for the German label Rhythm Bomb Records.

Lonesome In The Moonlight is the fourth album from B. B. and The Blues Shacks recorded for the German label Rhythm Bomb Records.

Rockstar Records ten-song, 10-inch album Benny Joy, Little Red Book, has been made into a twenty-nine song CD album. The featured songs are all from the years 1957 to 1963, and showcase prime recordings in the following genres; Rockabilly, Rock 'n' Roll, pop, and Country. Gracing the album with their musical presence are; "Big" John Taylor, Marty Robbins, Sonny Hines, Darrell McCall, Carl Smith, Ray Smith, Charlie Rich, and several others. The CD album further more includes the Dixie version of Spin The Bottle which was the undubbed master leased to Shelby Singleton who added his name to the writing credits. The album reissues several songs for the first time ever, and the album showcases the writing skills of Benny Joy. Dee Jay Mark Armstrong Bühl, Germany

is a 10 track 10inch record that comes with a CD with bonus songs. Its the first release that will be out on Rockstar to celebrate 50 years of Rockstar Records in 2024. Due to legal issues it wont hit the USA. Limited to 500 copies and of course no reprints.

Volume 1 - 26 lesser known Rock & Roll songs by black artists who are unknown, picked up a unusual stage name or had to hide their personality

Volume 2 - 26 lesser known Rock & Roll songs by black artists who are unknown, picked up a unusual stage name or had to hide their personality

Volume 3 - 26 lesser known Rock & Roll songs by black artists who are unknown, picked up a unusual stage name or had to hide their personality

Volume 4 - 26 lesser known Rock & Roll songs by black artists who are unknown, picked up a unusual stage name or had to hide their personality

Doo-wop is not just for Christmas. A genre often associated with the festive period at the tail end of every year, and synonymous with a picture book setting of Christmas given the radiating warmth of harmonious vocals encased in gold, and emanating from the voices of a truly gifted combo. A false representation however, because doo-wop is music fit for any occasion. Much more than the imaginative associations of a Christmas backdrop that, granted, doo-wop possesses the power to conjure such picturesque imagery, but on an entirely different trajectory doo-wop also has the ability to portray emotions where melancholy is present whether due to economic hardships or universal theme of relationship woes. It’s in these moments where we all feel something, and there is no genre better equipped with the right utensils (i.e. Vocals) to convey such emotions, in addition to providing solace from difficulties that life has a tendency to produce. Different in comparison with the wild shenanigans of rock ‘n’ roll, and different given the approach of this latest compilation series from the good folks at Koko Mojo, the genre of doo-wop makes numerous connections with the genre of blues during Blues Meets Doo Wop Volume 1.

Doo-wop is not just for Christmas. A genre often associated with the festive period at the tail end of every year, and synonymous with a picture book setting of Christmas given the radiating warmth of harmonious vocals encased in gold, and emanating from the voices of a truly gifted combo. A false representation however, because doo-wop is music fit for any occasion. Much more than the imaginative associations of a Christmas backdrop that, granted, doo-wop possesses the power to conjure such picturesque imagery, but on an entirely different trajectory doo-wop also has the ability to portray emotions where melancholy is present whether due to economic hardships or universal theme of relationship woes. It’s in these moments where we all feel something, and there is no genre better equipped with the right utensils (i.e. Vocals) to convey such emotions, in addition to providing solace from difficulties that life has a tendency to produce. Different in comparison with the wild shenanigans of rock ‘n’ roll, and different given the approach of this latest compilation series from the good folks at Koko Mojo, the genre of doo-wop makes numerous connections with the genre of blues during Blues Meets Doo Wop Volume 2.

Doo-wop is not just for Christmas. A genre often associated with the festive period at the tail end of every year, and synonymous with a picture book setting of Christmas given the radiating warmth of harmonious vocals encased in gold, and emanating from the voices of a truly gifted combo. A false representation however, because doo-wop is music fit for any occasion. Much more than the imaginative associations of a Christmas backdrop that, granted, doo-wop possesses the power to conjure such picturesque imagery, but on an entirely different trajectory doo-wop also has the ability to portray emotions where melancholy is present whether due to economic hardships or universal theme of relationship woes. It’s in these moments where we all feel something, and there is no genre better equipped with the right utensils (i.e. Vocals) to convey such emotions, in addition to providing solace from difficulties that life has a tendency to produce. Different in comparison with the wild shenanigans of rock ‘n’ roll, and different given the approach of this latest compilation series from the good folks at Koko Mojo, the genre of doo-wop makes numerous connections with the genre of blues during Blues Meets Doo Wop Volume 3.

Doo-wop is not just for Christmas. A genre often associated with the festive period at the tail end of every year, and synonymous with a picture book setting of Christmas given the radiating warmth of harmonious vocals encased in gold, and emanating from the voices of a truly gifted combo. A false representation however, because doo-wop is music fit for any occasion. Much more than the imaginative associations of a Christmas backdrop that, granted, doo-wop possesses the power to conjure such picturesque imagery, but on an entirely different trajectory doo-wop also has the ability to portray emotions where melancholy is present whether due to economic hardships or universal theme of relationship woes. It’s in these moments where we all feel something, and there is no genre better equipped with the right utensils (i.e. Vocals) to convey such emotions, in addition to providing solace from difficulties that life has a tendency to produce. Different in comparison with the wild shenanigans of rock ‘n’ roll, and different given the approach of this latest compilation series from the good folks at Koko Mojo, the genre of doo-wop makes numerous connections with the genre of blues during Blues Meets Doo Wop Volume 4.

Have yourself a great Halloween with "Horror Show" on Koko-Mojo Records, a magnificent compilation that features 28 fun-tastic spooky tracks selected for you by DJ "Moko" Man - a.k.a. Little Victor Mac.

is a 10 track 10inch record that comes with a CD with bonus songs. Its the first release that will be out on Rockstar to celebrate 50 years of Rockstar Records in 2024. Due to legal issues it wont hit the USA. Limited to 500 copies and of course no reprints. "Max Merritt and The Meteors were New Zealand's first and hottest rockin' band who during the vibrant years 1959 through to 1963 championed the new music in their birth land and Australia. Rockstar Records collection Get A Haircut showcases the trailblazing sound of rock 'n' roll music in the Eastern and Southern Hemispheres." The Rockstar Records anthology is shone upon Max Merritt and The Meteors who were the longest-lived and the most popular band from New Zealand in the early rock 'n' roll era. The ten-song, ten-inch vinyl album with recordings from the years 1959 to 1963 is entitled Max Merritt and The Meteors, Get A Haircut, and it additionally has a free chronologically arranged twenty-four-song CD, which will also have a commercial release. Their legacy which is re-issued on this Rockstar Records LP and CD comprises; four 45 RPMs and the songs from their LP C'mon Let's Go. Dee Jay Mark Armstrong Bühl, Germany

"Max Merritt and The Meteors were New Zealand's first and hottest rockin' band who during the vibrant years 1959 through to 1963 championed the new music in their birth land and Australia. Rockstar Records collection Get A Haircut showcases the trailblazing sound of rock 'n' roll music in the Eastern and Southern Hemispheres." Rockstar Records present a 24 track CD album entitled Max Merritt and The Meteors, Get A Haircut. The CD album is programmed in chronological order and comprised of original and cover songs from the years 1959 through to 1963. The Rockstar Records anthology is shone upon Max Merritt and The Meteors who were the longest-lived and the most popular band from New Zealand in the rock 'n' roll era. They were the hottest band to set the trend in New Zealand, and their legacy for this release comprises; four 45 RPMs and the songs from their LP C'mon Let's Go. Dee Jay Mark Armstrong Bühl, Germany

The album contains thirty songs including one previously unreleased acetate song and endeavours to illuminate the vital yet frequently unacknowledged contributions of artists: be it performers using their real identity, with Phantom Rockers or studio musicians in support, or artists and musicians using an alias and their contribution to the dynamic recordings was often unaccredited. Moreover, many of the musicians themselves became named recording artists.

The album contains thirty songs including one previously unreleased acetate song and endeavours to illuminate the vital yet frequently unacknowledged contributions of artists: be it performers using their real identity, with Phantom Rockers studio musicians, artists using an alias or the musicians who contribute the dynamic recordings. Moreover, many of the musicians themselves became named recording artists.

The album contains thirty songs including one previously unreleased acetate song and endeavours to illuminate the vital yet frequently unacknowledged contributions of artists: be it performers using their real identity, with Phantom Rockers studio musicians, artists using an alias or the musicians who contribute the dynamic recordings. Moreover, many of the musicians themselves became named recording artists.