American Patrol go Ameripolitan

AP General Jerry Sikorski tells me he just entered his group's "I Ain't Never Been a Cheater" in the Rockabilly classification of the Dale Watson-founded Ameripolitan's 2027 Award competition. 

Previous awards winners include Nick Curran, Kyle Eldridge, Jane Rose, The Lucky Stars, and Nic Roulette.

In reviewing AP's recent platter last May, I wrote "Sandburg's line about coming in on 'little cat feet' has no relevance here. Opening track 'I Ain't Never Been a Cheater' makes like a lion with its tail stuck in a wall socket." 

"I Ain't Never Been a Cheater" (live)

The Ameripolitan Awards nomination period is now open, and will remain so until late summer / early fall. Nominees can be put forward not only by bands themselves, but also by peers and fans.

Following the nomination term's conclusion, top nominees will be compiled. Official voting on final nominees will end in October or November. General Ballot Blaster voting will then be open until late December or early January.

The Ameripolitan Awards ceremony is set for February. 

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Jimmy and the Mustangs: Ducktail oeuvre

1980s California birthed a jitterbop uprising that too often was slighted, as commenters focused more on Robert Gordon, the Stray Cats, and English have-a-go heroes like Graham Fenton and Cavan Grogan. (Of course, not for a moment do I intend to dismiss their significance in the scheme of resurgent twang.)

Ronny Weiser's Rollin' Rock herculian strivings deserve wide approbation. But other West Coast names also merit credit. Like Top Jimmy, Hollywood Fats, and James Intveld.

And Jimmy and the Mustangs.

Hey Little Girl (1982) was the group's virgin wax. Though a dapper Rockabilly firecracker of above-usual gifts, Jimmy Silvers (né Haddox) also knew related night-joint strains of senior vintage. His reanimations of Wynonie Harris, Baker Knight, and Louis Jordan shouters attested to diverse appreciation. He had furious chops that cashed the check his hepcat finery wrote. 

Fellow Californian stage-demolisher Jerry Sikorski tore at strings in spectacular manners (as he previously had with Ray Campi at Rollin' Rock, and went on to do with American Patrol). Associated players arched forward with the vigor of battle-ready recruits to a jukebox campaign. 

MTV didn't have a clue - but something big was bubbling.

Videos: "Bring Back My Cadillac" (Live TV)   "I Want You To Be My Baby" (Live TV) "Let's Dance"

(In 1983, repopulated Mustangs guested on TV comedy Square Pegs.)

MCA / Curb released the 1984, self-titled EP. Two years had elapsed since the auspicious maiden platter, and some alterations were manifested: A pronounced New Wave flair had partially replaced previous vintage honor, and Marshall Rohner had assumed lead guitar duties, as Jerry Sikorski had gone on to American Patrol. (Rohner wielded his guitar like a stilletto.)

The fire remained on highest setting. 

A kinetic reading of Kenny Lewis' 1964 novelty "Bad Detective" stormed with righteous enthusiasm (just as it had when covered by the Dolls in '74). All involved here were having a ball, a feature that was also loudly apparent on "I'll Steal For Your Love" and "Stomp." "Justine," perhaps the most frantic headfirst dive included among the six tracks, turned up in the soundtrack of 1984 film Voyage of the Rock Aliens.

The affection for traditional gestures returned in the closing slide-guitar, swaybacked "It's All Over Now" revisitation. Bobby Womack, who had co-written the 1964 Bluesy ambler with sister-in-law Shirley for his group the Valentinos, would surely have nodded approval.

Videos: "Justine" (Official video)   "The Pressure's On" (Live TV)   "It's All Over Now"

Not illogically, maturity takes a hand in these 2011 (again, self-titled) cuts, though hardly in reserved fashion. Instead, judiciousness leavens proceedings, which are no less grounded in Americana inclinations than before. 

Jimmy's voice reveals a wisdom gained through life variously trying and exultant. Assembled around him as he imbues common-man musics with idiosyncratic aplomb are players cut from stout cloth: Tom Coplen (guitar), Dylan Cavaliere (doghouse), John Powell (drums), and Stefano Intelisano (keys). Fiddle and harmonica are added by Heather Rae Johnson and Guy Forsyth.

The maturity previously noted was leashed, though, for "Wanted Man;" that selection rampaged with the gleefulness of any earlier LP's entry. 

Videos: "Wanted Man"  "How Can I Miss You (If You Won't Go Away)?"   "I-35"   

The rollicking hijinx and Rock'n'Roll history command that made earlier discs estimable breathes and jumps still, on 2015's Another Round. The disc acquits itself as infectious, animated, and possessed of particular sinew. This was much more than only an undersung name from 1980s neo-Rockabilly rising anew; it testified to enduring powerfulness worth broad regard.

Horns sprawled like tuneful abettors in swinging rollick. "Roll the Dice" stutter-skipped with brim atilt. The swinging nite-spot long-legging that once notoriously marked Sinatra and his Rat Pack confreres (and later a truck driver named Presley) spun and tapped across gleaming dance floors.

"Cherry Bomb" swung straight in behind. 88s were pounded as Rock'n'Roll had its familiar, beloved way with every ear in the joint. Back in saddles were TNT players from the previous studio endeavor. And their pumped-to-nth-degree onrushes (which wisely intuited when to play it cool and when to pour it on) were precisely the launch pad required by Jimmy's outsized personality. 

He crooned, soared, and belted like Nudie-shirted gangbusters. Tribute to the Norfolk-birthed Black Leather Rebel "Ready Set Go" romped in manner not unlike "Cruisin'," its impeccably picked dash nimbly turning on silvery FDRs.

Following in brash joyfulness was a passel of tunery in moments rumbustious and, frankly, ineffable. A Sikorski-penned stroll down N'awlins boulevards, "Bourbon Street" unspools to high-stepping fiddle cavortings and bass-string articulations, as Jimmy discloses calm orations.

Fellow vinyl denizens included under-moonbeam ballads and rockers that probably resulted in furniture kicked into splintered kindling.

Established far past reasonable disputation was that seasons that intervened betwixt Hey Little Girl and Another Round had exercised no weakening; muscularity, blood connection to bygone nights' teachings, and love of hipness bombardments remained in full bloom.

So, if you read an account of '80s-forward neo-Rockabilly that makes no mention of Jimmy and the Mustangs' coolness-on-10 oeuvre, throw that book straight through the fucking window.

Videos: "Roll the Dice"   "Cherry Bomb"   "Ready, Set, Go!"   "Bourbon Street"

Cab Calloway - real George!        

Glide in his stride, outlandish hepster suits, motor-mouthed scat hyperventilations -- pencil-mustachioed Swing-Jazz ringleader Cab simply was stylin' personified, for 1930s Cotton Club/Savoy/Apollo patrons. And everlastingly, too, in the delirious consciousness of those hip to the tip.

Only persons ignorant (somehow) of Cab Calloway's larger-than-life persona and imprint on popular culture could dismiss him. 

Successive decades saw performers modeling divergent glad rags, in manners unlike predecessors. But even in those, trace elements of the Hi Di Ho bandleader's hotshot airs hovered.

Cab was the first black musician to sell a million records. Among Calloway-penned-or-interpreted classics that reside in the Great American Songbook are "Minnie the Moocher," "Are You Hep to the Jive," and "St. James Infirmary." Also in that rank are "We the Cats Shall Hep You," "The Old Man of the Mountain," "Are You All Reet?," and "What's Buzzin', Cousin?"

Adoring audiences at 'black and tan' spots went wild over the golden-tongued jester with tails and tousled hair a-fling. And of course, every man in his Swing orchestra spoke jive like a treasured second tongue. (At times, Dizzy Gillespie and Illinois Jacquet were among those making walls come tumbling down.)

Nor was Cab's contribution to our world solely musical. Of cultural significance was his ingress into white entertainment, a reality that advanced necessary racial unity. Just as the scat-master and associated players purveyed hot-and-cold ankle-benders to Savoy and Apollo throngs, so, too, did they loom impressively in more general milieus. 

Cab turned up in films Stormy Weather, Porgy and Bess, International House, The Singing Kid (which also featured Al Jolson), The Cincinatti Kid, and Hello Dolly. 

Lena Horne made her film debut in 1935 short Cab Calloway's Jitterbug Party. It was one of several the slick impresario lensed.

Not only did he appear on radio programs with Bing Crosby and Walter Winchell, but Cab went on to host his own -- the first black man to do so. 

He assumed Billboard chart status some half-dozen times through the years, also having injected reet magic in three Betty Boop cartoons: Minnie the Moocher, Snow White, and The Old Man of the Mountain. His impeccable musicality gilded the animated flickers.

Decades later, he illustrated his enduring coolness in 1980's Blues Brothers movie. The dashing Hi Di Ho cat with the whirling feet, laughing eyes, and crackerjack motor-mouthisms remained as George as when the '30s stepped out.

So, when subjects of heptitude are broached, the wise evoke Cab Calloway. And anyone who doesn't know should shut their yaps and pay attention.

Rob Heron and the Tea Pad Orchestra 

15 Years Live at Gosforth Civic Theatre

(Tea Pad Recordings)

Sprawling Swing hand-standing, practically bursting at its lacings with bamboo cane-waving, music hall drollery. A full roster of musicos -- Ringmaster Rob in front spotlight -- illustrate precisely how freewheeling Jazz zazz and whimsicality caper down the bricks. 

Recommended: "Great Fire of Byker," "Six Month Sleeper," "The Horse That You Rode in On," "Cats and Chickens," "Life is a Drag," "Flat Tonic Water," "Hot Bath," "She Don't Like Fish"

Videos: "The Horse That You Rode In On"   "Flat Tonic Water"   "Hot Bath"

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The Big Marteen's

Record Addict

(Sleazy Records)

Everything seizes attention at once: six strings erupting, high-and-mighty brass proudly abloom, skins slammed adamantly, and keys kicking up heels with massive exhileration. Comes brashly the voice, full of itself in the finest of manners; nary a note slighted, as tuneful bends unfurl. "Love and Compagny" conjures mesmerism with lower-case urbanity. A soothful moment amidst rumbustious schmozzle. As for "Good Rockin' Time" -- everyone's throwing wild on every instrument -- anyone who remembers the scene clearly wasn't really there. 

Recommended: "Big Lake," "Claudio," "Good Rockin' Time," "Record Addict," "Love and Compagny," "Bang Bang," "You Gave Your All to Rock'n'Roll"

Videos: "Big Lake"   "Claudio"   "Bang Bang"   "You Gave Your All to Rock'n'Roll"   

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The Amazing Royal Crowns

Payback Live

(Kingdom Recordings/Monolyth Record Group)

Thundersome, torrential rainsquall Payback Live assumed shelf display in 2001. (It was preceded by the group's self-titled 1998 debut disc, and soon followed by Royal.) The live CD is now available in digital form on Bandcamp. Readers here will notice videos below are of mint vintage; having readopted original title, the Amazing Royal Crowns continue their Punk/Swing/'billy crusade, tearing up countryside and fortunate shoutalong fans alike. Fever recognizes no calendar page. (Early this year, the combo played shows w/saxman Tony from Hi Fi & the Roadburners.)

Recommended: "Baby's Out on Bail," "Shivering in the Corner," "Minute with the Maker," "Scene of the Crime," "Trouble at the Bali Hai," "Luckiest Man Alive"

Videos: "Baby's Out on Bail" (live 2025)   "Scene of the Crime" (live 2025)   "Luckiest Man Alive" (live 2026)

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Pat Capocci

Echoes from the Asphalt Jungle   vinyl or CD 

(Sleazy Records)

Mr. Capocci evinces offhand vocal trenchancy and plank hip-dipping, all in the service of Bopification. The world already knows as much. (Straight from the fridge.) But the conclusion that fresh waxings from him aren't, then, of pressing interest is a far piece from this truth: digging his every new disc is of most-ut imperativeness.

(Also scissors-operator of Harbord Road barbering emporium Flying Tiger, Pat has tonsorial adeptitude in common with Rockat Smutty Smith and Hillbilly Casino's Nic R.) 

Recommended: "Lucia," "Day by Day," "Barnitos Bounce," "Trance," "The Puzzle," "Enzos Outing"

Videos: "Day by Day"   "Trance"   "The Puzzle" 

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Djordje Stijepovic: They call him artist          

Beyond dispute is that Djordje merits placement at the topmost level of music -- Rockabilly, Jazz, Swing, Punk, Worldly styles, Exotica - and the beautiful beast they combine to form.

His years of wildcatting across Rock'n'Roll stages are offset by impressive academic regimen; he boasts degrees in Jazz bass and arrangements, as well as a conservatory one in classical double-bass performance.

His most recent solo single (as Bullfiddlecat) is 2025 untethered raver "Knockout." Djordje uses familiar construction and style, but adds unanticipated key shifts. The Paul Pigat lead and nimble skins administered by Aleksander Petrovic flabbergast. (Too, a factor in the accompanying video's magnetism is the shameless frolic of pinups Scarlet Paige and Terra Jackson.)

Djordje contributed talents to others' 2023 works, including Dark Bardot (by Filip Mitrovic and Andy Baldwyn) and Argentinian singer Fito Paez's EADDA9223.

In 2008, I was writing as CD review editor for Rockabilly magazine. My introduction to Djordje came when I reviewed his group Atomic Sunset's Hot Rods and Pin Ups CD. 

"De riguer aggro aside, this Serbian trio's truest worth lies in the same instrumental attentiveness distinguishing all serious musicians," I wrote. "Impeccably precise Sinesa Jovic is ever at hand, Drazen Skaric crafts alarmingly charged exhortations, and Djordje Stijepovic's artful upright maneuvering salutes no superior."

There have since been diverse discs featuring Djordje (as well as before). Among them are platters by Fishtank Ensemble, Beats Antique, Anne McCue, and the BBB featuring Bernie Dresel. 

Scattered betwixt was Djordje's four-LP stint with Tiger Army and various soundtrack and compilation work. He's also laid down further solo sounds and lent talents as a guest accompanist: Wanda Jackson, Scotty Moore and DJ Fontana, Big Boy Arnold, and Dale Hawkins wisely called his name. 

Still more studio and live performance endeavors matched him with Nickelodeon star Drake Bell and supergroup Headcat (in which he jammed with fabled Slim Jim Phantom and Danny B Harvey).

Putting august genres Djordje enlivens to one side, talk of art may seem incongruous when discussing his rough-hewn roots-musics and Psychobilly efforts. Still, even then, creative intuition and intellectual discipline lurk.

Djordje attends to business and lets observers call him artist. And they do.

Videos:  "Chattanooga Choo Choo" (Atomic Sunset 2007)   "Ciocarlia" (Fishtank Ensemble 2009 live)   Tiger Army solo (live 2017)   "Gimme tha Power" (Molotov 2018 MTV live)   "Knockout" (featuring pinups Terra Jackson and Seattle Paige)

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Jerry Sikorski and American Patrol

s/t

(Self-issued)

Sandburg's line about coming in on "little cat feet" has no relevance here. Opening track "I Ain't Never Been a Cheater" makes like a lion with its tail stuck in a wall socket. That rollick and following ones teem with executive guitar navigations, piano and brass tear-it-ups, and a rhythm section tag team at once poised and dynamic. Swinging baby-moonabilly/jazz-snazz forays predominate, though affairs sometimes downgrade for pensiveness evocative of smoke-clouded, dimly lit nightspots. Plank specialist Jerry's vocals and songcraft are of their usual lofty rank. He's eminently able to loosen his collar and "go native" in grinning, growling fashion. 

You can bet your hat - we got a date Saturday with American Patrol.

Recommended: "I Ain't Never Been a Cheater," "Just Like You," "You're Everything and Then Some," "Blue by You," "It's Me You're Gonna Lose," "Tears Are Falling," "Love Fixes," "Bourbon Street," "Little Baby"

Videos: "Tears Are Falling" (clip)    

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Jerry Sikorski and American Patrol: Rockin' 'round the Juke Machine

Golden State jump maestro Jerry Sikorski founded American Patrol in the early 1980s. He'd lifted the name from a tune Glenn Miller made famous as a WWII-era USO club skirt-snapper.   

Jerry's earlier credits included time in Ray Campi and the Rockabilly Rebels, in the U.S. and overseas; backing Colin Winski on his 1980 Rock Therapy; and, two years on, recording with Jimmy and the Mustangs on Hey Little Girl. 

Already applauded for his six-string Rockabilly talent by both U.S. and overseas fans, Jerry cast back to the '40s for further inspiration. He studied the volatile teachings put to wax by masters like Louis Jordan. 

By joining bounce-stepped Boogie Woogie to wildcat Sun methodologies, he and the Patrol fashioned a high-spirited and magnetic whole. Their jive-time concoction of Swing, Rockabilly, and Jump Blues inspired dancefloor denizens to abandonment, long before such genre admixtures became profitable. 

An intended 1980 demo, cut in a single day, was ultimately issued independently as the 1000-copy Prowler LP. Even on that primitive effort, potential was manifest: jubilant material swung. The hep-to-it players nimbly alternated hot and cool passages, always keeping the solid proceedings trucking around the totem pole.

The inadvertent debut was strong on covers. Noteworthy were the blast-off readings of Jimmy Preston's 1949 "Rock the Joint," 1956 Rover Boys malt shop-hop ditty "16 Teens," and a smoldering take on the Tiny Bradshaw's "Train Kept A-Rollin'." 

Also given raucous reinterpretations were numbers by Louis Jordan ("That Chick's Too Young To Fry," "Ain't Nobody Here But Us Chickens") and Sonny Burgess (Red-Headed Mama"), as was Chris "Big T" Tyler's 1957 "King Kong."

The ominous, pulsing title track, a Sikorski original, offered the disc's most contemporary nod.

Jerry and realigned troops recorded album Backseat Boogie for Berverly Hills' Vanity Records. The new record was every ampere as electrically dashing as had been its predecessor. Plus, it boasted great poise.

Arrangements were direct, that edges not be obscured, and songs were brisk. Hurtling Swingtime finger-snappers were jazzed up by a winkingly fluidic guitar/sax cooperative that was, as needed, supportive and assertive. The sometime inclusion of rollicking, good-time ivories lent piquant Jazz accent. Chairs remained unoccupied all night.

This time, originals predominated. Jerry's "Shake the Roof" was a freewheeling dance-party anthem. "Give It All You Got" erupts with clever dynamics, including a lullingly cool breakdown that bubbled its fervor. 

"Wildcat Shakeout" was a holdover from Jerry's days with Ray Campi. Co-written by Jerry and Campi drummer Steve Clark, it simply rocked like nobody's damned business.   

Extra points were deserved for fine, obscure cover choices. Roy Hall's juke joint tale "Three Alley Cats" sped with knowing delight. And Louis Jordan's "Texas and Pacific" was a leisurely train song that afforded soloists capacious legroom. 

In 2013, Jerry hoisted the American Patrol banner anew, with the invaluable allegiance of Jim Leslie. Their version, as infectiously swinging as was before the case, leaned more heavily on western guitar voicings. 

"Truth, justice, and liberty, good folks stand by what they say," reads the liner, articulating the general traditional values-vibe. That this uplifting, Western Swing 'billy is true to early rockers' patriotic spirit - and that twang-committed co-captains Jerry Sikorski and Jim Leslie number Ray Campi and Stevie Ray Vaughn among previous colleagues -- are blue-ribbon selling factors.

The fresh and unique coolness of harnessing traditional values sensibilities with unerring, old-school rockin'  - sporting cowboy carriage - sends one reeling down familiar Bop Street.

Today, Jerry's patrolling continues. The imminent release of a brand new American Patrol CD was recently broadcast. The foregoing, then, is but the story thusfar. 

The train keeps a-rollin'...

Videos: "Shake the Roof"   "The American Way" (live 2010, w/James Leslie)  "Tears Are Falling" (live clip)

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Nathan & Jesse

Joined on gig occasions by fellow Jazz-Folk souls, the entwined twosome labor smilingly to perpetuate frolicsome airs forbears bequeathed us. Raven-tressed Ilonka whirls before mind's eye, tasseled peasant skirt billowing. Accordian, banjo, and resonator hues sing out. Earringed men in the caravan clap and townspeople scatter coins at her tanned feet.

Video: "I'm Gonna Ride"

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Bamboozle

It's a difficult undertaking - reinterpreting cartoon themes as jazzy instrumental excursions - but it's one Bamboozle pulls off with dash. Innocent fun and learned dexterity clasp hands and spin in playdate circles.

Video: "Inspector Gadget / Spiderman"

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Wayne 'the Train' Hancock flips off Nashville

Too seldom do any of us shake hands with juke nobility. So when it does come through the door, we all should savor the moment.

At this writing, Wayne is enthusiastically undertaking a honky-tonk, barnstorming stampede. Beginning last January, he and joint-jumping brothers-in-rhythm have delighted crowds throughout the land. Further swing-your-partner exploits are on calendars.

Texas Rockabilly scramble has always figured in Wayne's music. Rip-rollicking Country Swing jollity gulps oxygen, too. Whirling dancers don't worry about genre strictures any more than does the man at the microphone, himself. 

Much was made of Wayne's significance, when he first landed shoes in national consciousness with 1995's top-drawer "Thunderstorms and Neon Signs" (produced by Lloyd Maines). 

"Wayne the Train," as he was soon hailed, personified buoyant juke joint rhythm slinging. His battered and furiously downstroked acoustic, rough hewn everyman drawl, and the mischievous, toothy, sideways grin he flashed - as slap bass walked the line, electric lead-picking stung, and steel caromed off jump-bop rhythms - earned broad renown. Lofty expectations became hand-tooled truths.

He has a hell of a ball - as do all who hear him.

Great things have since come from the starkly rustic raconteur, in whose twangy voice seemed to lurk the limber-limbed ghosts of every time-lost honky-tonk under the risen troubled moon.

Accompanists have entered and exited, across decades of shows and miles of road doggery. But all have been players of awe-striking caliber. They drew deeply from Country Swing and Jazz pools, eager to sit in on the man's merriment.

When Wayne slips into swaybacked, mid-tempo Country Blues, he evokes Hank Williams, Sr. - a genuine touchstone for all who would tread this unadorned path. And he relaxes still further, now and again, delivering sonorous, back-porch plaints of universal melancholia.

Amid interchangeable, corporate cut-outs who illegitimately claim kinship with bygone radio and Opry luminaries - genuinely talented folks who serenaded generations of calloused-hands Americans - "Wayne the Train" poses a threat both natural and needed.

"Man, I'm like a stab wound in the Country Music of Nashville," the paradoxically rebellious traditionalist once laughed. "See that bloodstain slowly spreading? That's me!" 

Red-Hot Dynamos

The union of barn-party Country tunefulness and beat animation pleases no less now, than back when lanky ranch hands and lipsticked kittens went to town amid oak rafters, hay bales, and backy-spittin' dance callers.

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Gina Haley & the Jive Aces

I've Got a Feelin'

(El Toro)

A decade ago, Vintage Rock magazine described Jive Aces as the "UK's number one jive and swing band." That salute is no less merited, today; styling trademark yellow threads, they dish Swing magic and put rakishy-tipped stank on every College of Musical Knowledge note. A finer complement for brassy, emphatic Gina could not be located. The voluptuous, skirt-snapping girlchik looses steaming vocal torrents that pour atop and betwixt Lindy Hopping he's and she's. Spring-heeled rousers, torchers - all stations are visited. The killer-diller gal digs that, for jitterbugs on the thrashing floor and buzz-boys up in the blue, every day is a V for Victory one.

Recommended: "I've Got a Feelin'," "'Til the Well Runs Dry," "Mama He Treats Your Daughter Mean," "Them There Eyes," "Teardrops from My Eyes," "As Long As I'm Moving," "Saved"

Videos: "Mama He Treats Your Daughter Mean,"   "Teardrops from My Eyes" (live)   "Shake, Rattle, and Roll" (live)   "As Long As I'm Moving" (live)   

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