Rock and Roll

Koko Mojo Records showcases twenty-eight rousing rhythm & blues rockers with a dash of doo-wop music with the emphasis of jive dancing and added stroll tempos for a stylistic variety on Hi-Strung R&B Volume 08 Oh Yeah. The exhilarating R&B dance-fest sounds are sourced from the years 1949 through to 1962 “Dance kids go crazy” is the message the music carries. The eighth album in the series of ten maintains the constant dance rhythm and will provide something unexpected. The album has songs from the lesser-known and the internationally famous performers. The well-known performers include; Little Richard who from his formative years hollers his way through Taxi Blues, LaVern Baker changes Nellie Lutcher's He's a Real Gone from Jazz into R&B, and Chuck Berry's Come On and Larry Williams's Oh Baby are often over-looked but oh so good. The should be well-known names had lack of sales not decreed otherwise are; René Hall's Orchestra featuring Willie Joe (on Unitar) performing the marvellous instrumental Twitchy, and Bill Pinky and The Turks, After The Hop, and these are two must-have recordings. Kitty (Lanier) and Clay (Robbins) duet perfectly during Whoa-Ho (Let's Get Together), and blues legends (Earl) Hooker & (Junior) Wells work perfectly together on Universal Rock . The lesser-known artists who have that rhythm which moves your feet include; Cledus Harrison, Broke, Billy Lamont, I Got A Rock And Roll Gal, Del Thorne and Her Trio, I Let Him Move Me, and Pat Flowers and His Piano Rock Sock The Boogie all of which are Grade A performances. It is guaranteed that there is so much more to discover within the album. Koko Mojo Records endeavours 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. Dee Jay Mark Armstrong, Bühl, Germany

Koko Mojo Records showcases twenty-eight rousing rhythm & blues rockers with a dash of doo-wop music with the emphasis of jive dancing and added stroll tempos for a stylistic variety on HI-STRUNG R&B, VOLUME 09. The exhilarating R&B dance-fest sounds are sourced from the years 1949 through to 1962 "cut a rug kids and go crazy” is the message the music carries. Koko Mojo Records endeavours 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.

Koko Mojo Records showcases twenty-eight rousing rhythm & blues rockers with a dash of doo-wop music with the emphasis of jive dancing and added stroll tempos for a stylistic variety on HI-STRUNG R&B, VOLUME 07, RED HOT. The exhilarating R&B dance-fest sounds are sourced from the years 1949 through to 1962 "cut a rug kids and go crazy” is the message the music carries. Koko Mojo Records endeavours 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.

Celebrating 50 years of Rockstar Records with this deluxe Gatefold 10inch vinyl record. 14 classic Eddie Cochran tracks, incl. rare Stereo versions and alternate takes. PLUS a 12-page, full colour booklet with reproductions of unseen fan letters, photos and more from the archives of the Eddie Cochran fanclub. Liner notes by Cochran expert Antoon van Olderen.

Mark Armstrong presents volume 6 of this brandnew series focused on "Rhythm & Blues" of African American artists.

Here comes the long awaited first album by Cat Lee King and His Cocks, the sensational Jump Blues youngsters from Bonn, Germany! Under the fitting title “Cock Tales” the Quintet has put down fourteen smoking hot songs, most of them being brand new original material, all with gritty vintage sound and lots of background shoutin’ and yellin’ goin’ on, providing a studio recording as close to a live experience as possible. All songs were recorded live within two days in the tiny vintage “Rocket Lab” studio in Essen, Germany, on analogue tape machines and with vintage instruments, microphones and amps only.

Cat Lee King, known as frontman of Cat Lee King & his Cocks, hasn't been lazy during the historic lockdown year 2020, and presents his first solo album

Cat Lee King, known as frontman of Cat Lee King & his Cocks, hasn't been lazy during the historic lockdown year 2020, and presents his first solo album on 12inch vinyl LP

Peter Egri's One Man Band Boogie - Under The Memphis Moon

"Deal with the devil" is the band's fifth album following the release of the 2017 single "Prison Guard" (after their experiences playing in italian prisons) and the solo album by leader Michele Miko Cantù ("Letters Never Sent", 2018). Deal with the Devil is a sort of concept album where the common thread is none other than the thin line that divides sacred and profane. In fact, you'll constantly find references to both sexuality and spirituality, in a continuous intertwining of stories and characters on the edge between salvation and perdition.

Setting their stall out for the first time is The Backyard Casanovas with Backyard Stomp. A debut album conceived after a few practice sessions, followed by a couple of live performances, before being captured on film by Bopflix Films, not to mention a few rounds of a local homebrew to ensure morale was at its highest, to realise that there may just be something in this new project.

Setting their stall out for the first time is The Backyard Casanovas with Backyard Stomp. A debut album conceived after a few practice sessions, followed by a couple of live performances, before being captured on film by Bopflix Films, not to mention a few rounds of a local homebrew to ensure morale was at its highest, to realise that there may just be something in this new project.

12 modern Rockabilly originals from the trio out of Lille, France

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.