DC Larson's JUKEBOX JURY

Capsule reviews by a jury of one: Iowa journalist/author DC Larson. Rockabilly, Psychobilly, Blues, Alternative, Western Swing, R and B, Punk, Swing, Hillbilly, Glam, Americana. DC Larson's retro science fiction writing blog, from which the Eddie Atomic Space Adventures are available, is RETRO RIFF BOOKS. And his political writings one is AMERICAN SCENE MAGAZINE. Both are also on Blogspot. All original content on these three blogs is under author copyright.

Sunday, May 24, 2026

Long Lasting Train

Full Speed to Nowhere (2014 - 2016)

(Fucking North Pole Records)

Desperately search though they will, the fearful will locate no refuge. Instead, and from all around, sheer racket of the finest kind ravishes eardrums with unstoppable velocity, as blasts from amplifiers connected to city-leveling machinery of unknown scientific genesis communicate the surliness and bellicosity that churn in every outsider-by-choice's crimson.

Recommended: "Total Blackout," "SPIT," "Recovery Rox," "Ratz," "Echoes of Death," "Obey the Grey," "Vaporized Brain," "Death Proof," "Black Book," "Whiskey Business," "Out of Jail...Goodnight World"

Videos: "Total Blackout" "Black Book" "Whiskey Business" "Out of Jail...Goodnight World"

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Fucking North Pole Records

The Phantom A.D.

Revenge of...the Phantom A.D.

(Rock N Rhythm Records)

He never drinks...wine. Here in the Phantom A.D.'s cobwebbed, latex-monster hood, darkness is a 24/7 proposition. Splenetic chords race like risen-from-beneath, demolition terrors, hip to the ways of lost avenues Rock'n'Roll. Swirling his cape while surfing atop a saucer, The Phantom A.D. growls enunciations that bespeak horrors good men know not. Martin Milner scrambles for exit, though Mickey "Bip Bop Boom" Hawks and Shadowman Link stick around where the action is.

Change for the strange, it comes: In months before us, the Phantom A.D. will unfurl finger-popping bizzaritude across Norman Rockwell's placid middle states.

(Backstage, respect is due Isaac Rother. The man behind this all is a prolific composer, shaper of six-string stimulations, and master contriver of monstery kicks.)

Recommended: "Revenge of the Phantom," "Spider Baby," "Chainsaw Rock," "Alley of Terror," "13 Ghosts (in Illusion-O)," "Phantom's Rumble," "Mark of the Vampire," "Gator's Grin"

Videos: "Spider Baby" "Chainsaw Rock" "13 Ghosts (in Illusion-O)" "Phantom's Rumble" "Gator's Grin"

Sugar Britches

Cover That Shit Up

(Pantalones del Azucar)

For their fourth album, the dusty-booted Americana dab hands chose an all-covers program. A host of worthies from Roger Alan Wade to Bob McDill, and all the way to Brian Johanson, receive fence post badlands reinvention. (Even Madonna, Queen, and Sir Elton John feel the lasso.) Not so much as one shred less impressive than songsmiths referenced: members' mastery of playing-implements they have grips on. There's gonna be a hot time in the old town tonight.

Recommended: "Fryin' Bacon Nekkid," "Egg and Daughter Nite, Lincoln, NE 1967 (Crazy Bone," "It Must Be Love," "Last Nite," "Look on Your Face," "Rocket Man," "Fat bottomed Girls," "The Biggest Lie"

Videos: "It Must Be Love" "Look On Your Face" "The Biggest Lie"

The Cain Pit

Sorrow & Joy

(Jungle Records)

Here revolves prime opportunity for rectification; specifically, for not having purchased the BluegrassPunkPsychoCowpunk group's earlier Sorrow and Joy EPs. Both are here. It's in these robust barnburners of beery good humor that old-ways home folk horse-and-buggy in from back country, and rip-stitched hellions abandon city avenues, to throw rumbustious bachanalia the equal of any shivaree you might cite. It'd make for great memories - if anyone could remember it the following morning.

While Sorrow and Joy was self-issued in last year's concluding weeks, Jungle now offers the combined release in red-vinyl form.

Recommended: "Alder," "IJTYSK," "White Lines," "Platform," "Devil's Side," "My Bloody Valentine," "Dead Man's Guitar"

Videos: "Alder" "Devil's Side" "My Bloody Valentine" "Dead Man's Guitar"

Fear of Last Orders

Leadbelly's recording of "Midnight Special" is famed. The storied Bluesman may well have learned the old prisoner song whilst serving time in Sugar Land, Texas stony lonesome Imperial Farm Prison. As surely as he couldn't have imagined (possibly soon-to-be-besotted) English rousters standing and delivering a lusty throated revisitation, Leadbelly can be envisioned raising his glass in salutation.

Video: "Midnight Special"

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13 Bats & Resurex

An ode, of vigorous sort, to a flesh-tearing miscreation who would surely join us in relishing this mercilessly strapped, poetic darkness.

Video: "Monster Man"

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Barry Ryan: Six-string statesman

Minneapolis, 1980 -- A strippers-by-day, Rock'n'Roll-by-night club called Duffy's was showcasing Anglo-American group the Rockats during its Octemberfest. Only a year or so had passed since they'd split with Levi Dexter and realigned, having added several new members.

Weeks before, they'd issued "Rockabilly Doll" b/w"Tanya Jean" (Kat Tale), giving early voice to the burgeoning US rockabilly movement. (I still own the 45 I purchased back then. Sadly, the accompanying brown/white/black mini-poster was lost to the ages.)

I was in that night's jam-packed audience. I was forever changed. The Rockats were everything a rank-and-file rebel could have hoped for. A formidable and precise, swinging Rock'n'Roll spectacle, they sported tailored cat style and showy, acrobatic professionalism. Under multi-colored strobes, the whole damn stage erupted.

And Barry Ryan was a major factor in their distinction. Having arrived from NYC Punk upstarts The Victims, he stalked the stage, reborn as the six-string statesman of a pomped subculture.

His onslaughts benefited beyond gauging from judicious dispatch. His styling drew on American popular music's Blues and Country roots, and crafted a glorious pastiche.

(Scratch that past tense usage -- he remains among Rockabilly's premier pickers.)

Several years back, Barry reflected on the era that spawned the Rockats' first LP, a live explosion of creepered exuberance.

"Island Records head Chris Blackwell signed the Rockats on the advice of Grace Jones in late 1980. We went to London in December to start recording. For one reason or another, the sessions weren't matching up to our live shows. So the project was dumped and we came back to NY.

"It was decided that the best thing to do was to do a live record. We recorded two consecutive nights at the Ritz, but I believe only the first night was used. Both nights were sold out and that's Billy Idol who introduces the band and also sang on the encore of Chuck Berry's "Around and Around," which wasn't included on the release."

Mr. Ryan performs a vital function, linking today and yesterday. The uproarious souls of gritty Blues and traditional Country step and whirl in gladsome union, spurred into fancy-footed Rock'n'Roll transmogrification.

His hard-lived experience -- global touring, midnight stages, simultaneous uncertainty/exhilaration of Rock'n'Roll life -- resounds in each of his twanged, thrashed or elegantly touched-off notes.

Over decades, the Rockats counted various other remarkable guitarists as transient members. But to my mind, Barry always was the band's defining guitar voice. Others contributed especial piquance, but he was that group's constant. A Rockats without Barry's inimitable fretboard touches was inconceivable.

The final release by the legendary group came in the form of 2021's Start Over Again.

Newly minted originals "Rock, Baby, Rock (All Night Long)," "Rockabilly Swamp," "Lucky Old Rockabilly (Walking Down the Pike),"and "Working Man" were apt complements to covers of Johnny Cash, Buddy Holly, and others.

1980 single "Rockabilly Doll" b/w "Tanya Jean" was remastered and reminded of the combo's initial promise.

In short, the music was such a capstone as to render many competitors' toils superfluous. Enough good cannot be stated of the Rockats' cohesive deploy of rockin' mannerisms. They'd never sounded more committed to good times.

Barry had earned further global renown. He carved out a legend with New York zydeco ensemble Lucky 7, waxed volatile solo endeavors, was often tapped for live appearances by legend Robert Gordon, and recorded and gigged with Gary Setzer as Rockabilly X.

Such men, through impassioned devotion to Rock'n'Roll and the magical effect it can have to better average people's lives, accomplish something far larger and more significant than any isolated work. They give us all a finer world.

All of which seemed possible, if only hinted at, that bygone Minneapolis night.

Online examples of Barry's prowess seem ubiquitous: "Rite Time" (1981 w/Tim Scott McConnell) "Make That Move" (1983 w/Danny B Harvey) "Downtown Saturday Night" (1994) "Rockabilly Barry Ryan!" (solo) "Black Slacks / Red Hot" (live w/Robert Gordon) "Joshua's Plea" (2012 w/Rockabilly X - Barry on vocals + guitar)

2025

Wednesday, May 20, 2026

The Brains

No Brain, No Pain

(Cleopatra)

With their 2005 maiden platter, leathery Rene, Colin the Dead, and Phil the Beast tipped quiffs as among Psychobilly's fastest and loudest wrecking locomotives. Simultaneously entering were unsettling Creature-featurism vibes and screamed asylum declarations. The volatile admixture can and does explode. Realities splinter into technicolor mayhem. Cleopatra reissued No Brain, No Pain in 2023 for the benefit of all hungering to hear a blast furnace ripped from cellar flooring and heaved with perilous ambition.

Recommended: "No Brain, No Pain," "Black Jack Death Bet," "Taste Your Blood," "Train (Keeps A-Rollin' On)," "Don't Wanna," "Crazy Paradise," "Murcielagos" (bonus cut)

Videos: "No Brain, No Pain" (official video) "Taste Your Blood" "Crazy Paradise" "Murcielagos"

Trouble Bound

Step to the Line

(Mild Chaos)

When last we tore toward New York grenade-hurlers Trouble Bound, the melody fetishistic aggression-cell had just released its 2025, 20th anniversary vinyl iteration of Here to the End. Today, as much as then, songs are both substantial and fleet; crisp attestation that craggy substance (with stand-tall wordage) need not hinder capsule trajectory.

Recommended: "Set the Record Straight," "Cup Full of Cyanide," "The Only Way I Know," "Maximum Security," "Red Light," "Step to the Line," "Paranoia"

Videos: "Set the Record Straight" "The Only Way I Know" (official video) "Step to the Line"

The Aftermiters

La Venganza de los Desheredados EP

(Ruido! Records)

Vituperation en Espanol. "Sepulterera" opens by snatching the Munsters' theme (composed by Jazz guitarist/arranger/Capitol Records producer Jack Marshall), before segueing into ten-league-booted bonfire of bellicosity. Such typifies assembled songs in the main: Fiercely dispatched Punk that pulls off rough trade business with neither reserve nor solicitude for postured propriety.

Recommended: "Sicario," "Instinto Felino," "Sepulturera," "Cuervos," "La Venganza de los Desheredados"

Videos: "Sepulterera" (official video) "Venganza de los Desheredados"

MindFucks

Tales of Love and Murder

(MindFuck Music)

Fluency in Dutch isn't required to interpret as malevolent the snarled, spat lyrics washed onto grim shores by waves of poison. Falling in rank with the Rotterdam bashers' own splendid bombardments is Nina Simone subjected to Strickfadenization.

Recommended: "The Butcher," "The Deep Ones," "Death Row," "Voodoo Curse," "Zombie Killer," "The Last Sun," "Fat Roll Boogie," "Misunderstood"

Videos: "The Deep Ones" (official video) "The Last Sun" "Misunderstood"

The $100 Quartet

A spring-heeled composite of BR5-49 and the Bellfuries, this foursome turns Moon Mullican's 1951 King single inside, outside, and upside down. (As BR5-49 had in previous days.) The assorted Rockabilly Rave 2026 movers/shakers chant happy zeal, as loose-limbed Country bounds through airspace - and how.

Video: "Cherokee Boogie"

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Sleazy Records

Nic Roulette & the Ricochets

Cindy Walker penned this for Bob Wills and his Texas Playboys, who recorded it for Columbia in 1941. Now, Nashville's Ricochets put down as genteel and slyly spry a take as has caressed ears since Mr. Wills and his booted minstrels two-foured into the descending sun. And Hillbilly Casino dervish, Nic, proves to be exactly the voice needed to crest Jackpot Ridge.

Video: "It's All Your Fault"

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Dale Watson: Music as the reckoning of a man

Does Dale Watson realize how important he and his music are?

The man upholds and advances traditional Country Music -- the hand-tooled kind that reflects the aspirations, heartaches, and end-of-work-week, shout-and-stomp barroom release that a million corporate Nashville types twiddling computerized studio knobs for a million years couldn't replicate.

From his easy smile and laconic drawl to his silver, mile-high pomp and classy, Grand Ole Opry-redolent, populist troubadour clothes, Dale couldn't be anything but the authentic Country music last call luminary his loyal fan base lauds. And, issued earlier in the year by 40 Below Records, fresh platter Unwanted offers the many splendored barroom serenading for which Dale has long been known.

Steel-guitared romps bounce affably, with winks and cosmopolitan assurance. ("Gotta Try Harder," "Never Mend the Broken Spoke.") Sporadic punctuation arrives, in the person of movingly introspective material whose subdued manner is of wholly Country bearing. ("If You Truly Love Me," "If I Can.")

Located here and again are even strapping numbers that might could drive a fella to try his hand at that mustang nobody could break. ("What the Hell Happened To the Cadillac," "Don't Let the Honky Tonks Go," and the five-star title cut.)

Dale's Telecaster rhythms pulse and shimmer, his inventive leads sing out, and his ingratiating vocal warmth encourages all to pull up bar stools. Whether the clever material is dynamically uptempo, infectious and witty, articulating profound emotions, or charging gleefully into melodic mischief, adjoining players negotiate every backroad and neon-lighted avenue in sterling manner, as their leader maintains good-hearted command.

His objective importance lies in his priceless role as devoted counter to insipid Pop-Country. (A sterile contraption that can neither speak for plain home-folks, nor goad them to don whirlyspurs.) That needed function, and simply because the music itself is so damned good, is why Dale Watson is of significance to every listener who knows Real Country when he is lucky enough to hear it.

In fact, Dale Watson and Wayne 'The Train' Hancock are of the same rank: crucial, contemporary interpreters of bona fide classic Country styles who have every right to be hailed and featured by industry award-bestowers and powers-that-be, but who are too real and uncompromising to ever turn painstakingly manicured 'show me the money' heads.

As long as music this wood-grained and leather-worked is accessible, does it really matter that industry-calculated honors generally salute dreckish artificiality? After all, such foolish, televised corporate pageantry doesn't impede appreciators of the real deal from enjoying it.

Historians recall Thomas Jefferson remarking, when asked how he could abide the free exercise of religions other than his own: "They neither break my arm, nor pick my pocket." With similar indifference, we will let the clothes-horses prance.

Dale Watson must realize how important he and his music are. If he doesn't, he's the only one.

"South of Roundrock Texas" (Austin1996?) "I Lie When I Drink" (Austin City Limits 2014) "Don't Let the Honky Tonks Go" "What the Hell Happened to the Cadillac" (both from new Unwanted)

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Sunday, May 17, 2026

The Holloway Echoes

Carry On Echoing

(Western Star)

Sporting drape coats and beetle-crushers, with high spirits their commonality, credentialed Teds bound onstage.

The contrast between eminently dispatched, grand musicality and japes that, on occasion, prompt blushing, mark proceedings. Lead-off cut "All Asses Must Be Shown" is a ribald tale, fondling the Camping entry in the Carry On laugh-escapade movie bunch. Felicitous blonde Babs is touched upon as banjo strikes up rousing merriment, and group singalong wreathes all in smiles.

Jolly tone having been set, tagalong cuts span stately (and frequently back-slappingly waggish) passages. Pop sunniness, Skiffle, and music hall cavortings are numbered amongst. Evidence abounds that while jesters every inch, these spiffily attired gentlemen (including Pat Winn and Alan Wilson) know their instruments up the avenue and home again.

Recommended: "All Asses Must Be Shown," "Brylcreem," "The Law Must Take It's Course," "Charlie's World," "This is a Melody of Guitars and Bells," "50s Fred (The Monoped Ted)," "Gripper," "Watch My Records Play," "The Third Earl of Harrow," "Take Me Back," "Cox's Creepers," "Last Orders," "Be Right Yet Left"

Videos: "All Asses Must Be Shown" "Brylcreem" "This is a Melody of Guitars and Bells" "50s Fred (the Monoped Ted)" "Gripper"

Nekromantix

Three Decades of Darkle

(Cleopatra)

What distinguishes Cleopatra's steaming-from-oven reissue of their 2019 Blu-Ray/DVD/CD compendium will be instantly apparent to anyone with an eyeball in the center of their brain (to quote Lux): On offer is a two green-vinyl version, in addition to more orthodox formats. (This 30-year anniversary concert was filmed at California's Observatory Theater.) Kim thrashes his coffin-doghouse, as is his infamous wont, while allies Franciso Mesa (foamingly rabid guitar) and Brain mogul Rene D La Muerte (bashing skins beyond recognition) toil at his elbow. Soil-turning morbidness, plus humor dug only by those of bent disposition, ricochets to Saturn's haunted handies, Skelton Knaggs' Universal shooting stages, and climes in which grim ghouls ply deviltries.

Recommended: "Struck by a Wrecking Ball," "Night Nurse," "Demons Are a Girl's Best Friend," "Nekrostatic Extacy," "Gargoyles Over Copenhagen," "Subcultural Girl," "Brought Back to Life," "Horny in a Hearse," "Haunted Cathouse," "Who Killed the Cheerleader"

Video: trailer "Struck by a Wrecking Ball" "Demons Are a Girl's Best Friend" "Gargoyles Over Copenhagen" "Subcultural Girl" "Horny in a Hearse" (official video)

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Magic Sands

Limón y Agua

(Hi-Tide Recordings)

Many travel agents, posters of exotic destinations adorning office walls, could doubtlessly convey you to Kona, Hawai'i's Magic Sands, reputedly the world's most dangerous beach. (Riptides, shorebreak, and all.) But know that the present Los Angelino combo, sharing that and-still they-come tourist-spot's name, can do so faster and cheaper. Hawai'i's ancient charms roll forth in wonderment, as strings are plucked and strummed with a dignity that is all the more intriguing for its mum knowingness. Percussions of island, exotica, and Latin characters induce pleasing physical inclinations. August ambience is further embellished by piano-key judiciousness.

Sun disappears far across blue vastness, as ti leaf-wrapped pigs roast beneath earth in kālua enterprise. Mesmeric airs waft through evening air, and hula voluptuousness undulates.

Hi-Tide has specified a June 26 release date. Orange and green vinyl versions in gatefold jackets, with collectable obi strips, will be marketed in 200-unit limited edition.

What travel agent could offer all that?

Recommended: "Hawai'i Kai," "Vaquero," "Night in the Medina," "Mahina," "Back Door," "Hawai'i Kai," "Limón y Agua," "Baja Norte"

Videos: "Hawai'i Kai" "Vaquero" "Payout" "Mahina"

Back in the Day, 2010

Wild Boogie Combo

Music for Females bootleg

(Chickens Records)

Hervé "Jake Calypso" Loison was one of the two pseudonymous, ex-Hot Chickens members who mongered proudly feral, give'em-the-sock thunderations in nights not distant. (Somewhere in regions uncharted, Hasil and Lux paused quaffing Frankenstein 'shine, and waved salutes.) Mr. Calypso and dirty business partner Theirry "Terry Reilles" Sellier (under aliases Billy Cock and Willy Ass) accomplished two fine deeds: 1) ramping up enthusiasms in the creepered contingent, and 2) provoking staid neighbors to pound fruitlessly on shared apartment walls.

Reputedly of bootleg nature.

Recommended: "She's Mine," "Bip Bop Boom," "High School Confidential," "Roll Roll Train," "Bonie Maronie," "Baby Won't Come Out Tonight," "Rave On," "Woodpecker Rock," "Chicken Walk," "Tore Up"

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Great Invaders

Why were wrecking devotees jammed shoulder-to-shoulder at 2025's Tokyo Big Rumble? Given featured agitators Great Invaders - a threesome that gleefully detonates at Link Wray sound levels - the superfluousness of that question spurts crimson.

Video: "I Love Psychobilly"

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Komando Batikano

1980s Spanish teens Guti, Txopo, and Jabuxta grabbed hold of Punk's prospect for eruptive escape from/challenge to hardships social, economic, and political. Site Euskal Musika relates the trio joined musician-collective Assembly of Madmen and the Generación Bunker rehearsal space contingent. The three waxed 10-track demo Maketa in 1988. Present information defies acquisition.

Video: "Hambre Miseria Y Muertos" (1987 TV performance)

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Ray Campi: Slappin' that doghouse, wavin' that scarf

Look over lists of golden era, million-selling rockers who've gone to their rewards, and names like Elvis, Jerry Lee, Buddy, and Little Richard will turn up.

Thoroughly sincere Rockabillies, sweating and bopping on subterranean levels of regard, have always outnumbered the storied icons of 706 Union. But their toils are significant, also.

Here is the story of one.

Ray Campi's name doesn't adorn Rock'n'Roll Hall of Fame billboards. But he nevertheless enjoyed select renown amongst internationally located rebels; for us, the "big bass-slappin' man" was of especial rank in American popular culture.

One heard in this veteran foot soldier's recent work the same snapped-tight dynamism and rollaround, good-time flow that he unleashed in bygone salad days.

Older lovers of primordial, country-sparked bop will recall Ray's 1957 romp, "Caterpillar." And their more youthful fellows were fortunate to have Ronny Weiser's indispensible 1970s/1980s Rollin' Rock label to facilitate their own howdy-hi to Campi, and, in some cases, to the musical vein, itself.

"Rockin' At the Ritz," "Hollywood Cats," "Quit Your Triflin'," "Rockabilly Man," "Pan American Boogie," "Tore Up," - these are only a few of the titles he committed to vinyl and thereby etched into Rockabilly revival immortality.

His roots stretch back into a pre-Rock'n'Roll era in which loose-limbed and rambling young Country pickers first fortified bouncing rural melodies with a pronounced beat. The hillbilly bop they fathered in countless, liquored-up honky tonks resounds healthily in Ray's contemporary efforts.

As a young man of spirit, he scaled to the mountain's top in the hardest way. Ray mastered his wild-side-of-life craft before 1950s Texas honky tonk crowds. Blurry late nights beyond enumeration were spent surveying the world through the lens of raucous, boozy revelry and suds-up brawls.

But the fame and riches that came to a chosen few eluded him. And life called.

Like many who had, from bill-paying necessity, turned to punch-clock existences - their one-time imaginings of the big time having swirled away like smoke from a dobro picker's Pall Mall - Ray abandoned stages for blackboards, taking up the unspectacular life of the high school teacher.

And on that unremarkable downbeat the story might have faded, were it not for Ronny Weiser.

Born and raised in Italy, Ronny fell in long-distance love with the 1950s American culture he found on movie house silver screens and precious 45s.

He became a Californian in 1965. But to his dismay, Fats Domino and Buddy Holly had been pushed from popularity by the Beatles.

By the late 1970s, Ronny had launched his independent Rollin' Rock Records label. And the hot sounds he had as a youthful immigrant hoped to find in his new land, Country bop steeled by hard-driving beats, romped again.

Over years, numerous LPs were cut in Ronny's Van Nuys garage. A mail-order business thrived. Originals like Charlie Feathers, Johnny Carroll, and Mac Curtis released Rollin' Rock tracks.

But before those wonders transpired, Ronny discovered school teacher Ray lived near. And just like that, Campi was back.

He and other pioneers were were joined on the roster by new generation rockers including Billy Zoom, Jimmie Lee Maslon, Rip Masters, Ronnie Mack, Colin Winski, Steve Clark, and Jerry Sikorski. (These last three, with an additional guitarist, would eventually back Campi as members of the Rockabilly Rebels.)

Ray onstage lived his songs. He full-throated them with more enthusiasm and ingratiating humor than many of the Rock'n'Roll Hall's manufactured transient sensations. (But his habit of waving a cowboy scarf over fans swarming stage fronts holds significance not known to the present author.)

Since reemerging at Rollin' Rock, he recorded disc after good-time disc. Audiences around the world whose only previous exposure to him had been got from scratchy, hotly-sought vinyl, were driven wild by his on-fire performances.

Ray wasn't a star (save for among creepered believers). But with his genuinely affable rollicking and 'all the world's a honky tonk' Rockabilly, he offered a precious portrayal of Americana fast slipping otherwise into oblivion.

Over decades, Ray imparted lessons in regular-folks' jumpin' and kickin' to the "real gone, crazy beat" that can be appreciated in scores of subsequent wax laid down by acolytes. As long as Mr. Campi's schooled bopcats are trodding studios and stages, something that helps make our world special endures and will always be accessible to us. Money in the bank, as goes the phrase.

And he will forever scale his Texas-starred double bass, mug in histrionic delirium, and wave that handerchief whenever needles drop on his platter legacy.

Which is cool. Because everybody digs a happy ending.

Videos: "Rockabilly Rebel" (live in England 1979) "Rockabilly Man" (official 1981 video - pink-shirted Rollin' Rock founder Ronny Weiser cuts rug amid dancers.) "Rockin' and Rollin' Towards Tennessee" (Rollin' Rock 1975) "Rockin' At the Ritz" (74 year-old Ray, live at 2008 French Blue Monday festival)