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3 compilation release, the twenty-one well-chosen tracks include such artists as The Dead Brothers, Possessed by Paul James, Sixtyniners, Bob Log III, Delaney Davidson, Hipbone Slim and the Knee Tremblers, Movie Star Junkies, King Khan and His Shrines, and Reverend Beat-Man himself. Operating thus, he has brought on artists whose sounds have been stamped primitive rock’n’roll, blues trash, gospel punk, Cajun-core, gypsy funeral jazz, Eurobilly, surreal folk, outlaw country, and garage rock,……among several others. Quite simply, what Beat-Man looks for in the artists he works with is originality and a sound that moves him. It’s true, the label has in fact worked with a handful of international one-man bands throughout the years – King Automatic, John Schooley, Elvis Pummel, and Urban Junior, to name a few – but there is no such criteria for the bands he chooses to bring aboard. …Because Voodoo Rhythm Records was founded by Swiss singer/songwriter Reverend Beat-Man, there are a lot of people who have come to associate the label with the growing one-man band movement. With its diverse menu and crackling performances, Rock 'n' Roll City demonstrates that Eddy Clearwater excels at far more than his existing catalogue indicates. The guitarist sounds jovial and inspired throughout, trading licks with Los Straitjackets' Eddie Angel and Danny Amis and singing with an upbeat affability that makes it sound as if he's in your living room.
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Closing with "Good Times Are Coming," a six-minute gospel-tinged slow blues with only a lonely organ as accompaniment, brings Clearwater full circle and ends the album on its mellowest note. "Back Down to Earth" also mixes swamp soul with country blues in an intoxicating blend. New Orleans rhythms rule on Clearwater's cover of Fats Domino's "Let the Four Winds Blow," and he hits an easygoing rockabilly vibe on "Midnight Groove," another horn and guitar-driven burner.
Elsewhere, he moves into spaghetti Western, reverbed instrumental/rockabilly waters - no doubt provoked by the Straitjackets - on "Monkey Paw." Clearwater also tosses in a few Ray Charles-styled R&B '50s nuggets in "I Love You" and "Before This Song Is Over," both originals that sound like authentic lost gems due partially to Dennis Taylor's tough tenor sax. The opening cover of "You're Humbuggin' Me" kicks things off with a blast of '50s Little Richard abandon. Goode"-heavy "Hillbilly Blues," this album explores his non-blues roots more thoroughly. But even though he tosses off another in a long line of Berry-esque rockers with a "Johnny B. Never a straight bluesman, the Chief's Chuck Berry tendencies are well established. Other than the participants' colourful choice of headgear, this joint venture urges Clearwater to his most rocking and uninhibited studio performances, while expanding his stylistic boundaries. The association seems unusual at first glance, but Eddy "The Chief" Clearwater's roots rock and blues backed by Los Straitjackets' twangy surf results in a potent combination.
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The Killville Auto Salvage series is a collection of rarities, alternate takes, and miscellaneous oddballs spanning 2 decades of bloodgrass. For those of you who can't get enough of Angry Johnny & The Killbillies. More mayhem from Killville Massachusetts. OH, OK!!! WHAT THE HELL - HERE'S A FEW MORE - TAKE YOUR PICK:
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