Podcasts about git it

The OBSAS crew takes a deep dive into once hard-to-find Oingo Boingo songs that were released on movie soundtracks and compilations. If you were a tape-trading fan back in the day, you know what it felt like to open the mail and find a hand-labeled cassette called “Oddities and Rarities.”Join us as we dust off these odd and rare gems: I'm Afraid, Better Luck Next Time, Goodbye-Goodbye, Bachelor Party, Something Isn't Right, Happy, and Take Your Medicine.Links:Nili Brosh Plays Goodbye-GoodbyeMongolian PartySong Clips:“I'm Afraid” - Oingo Boingo, L.A. In - Compilation (1979) “Better Luck Next Time” - Oingo Boingo, The Last American Virgin - Music from the Original Motion Picture Soundtrack (1982)“Goodbye, Goodbye” - Oingo Boingo, Fast Times at Ridgemont High - Music from The Motion Picture (1982)“Wake Up (It's 1984)” - Oingo Boingo, Good For Your Soul (1983)“Nothing Bad Ever Happens” - Oingo Boingo, Good For Your Soul (1983)“Bachelor Party” - Oingo Boingo, Bachelor Party - The Music From The Movie, (1984)“Something Isn't Right” - Oingo Boingo, Bachelor Party - The Music From The Movie, (1984)“Why Do Good Girls Like Bad Boys” - Angel and the Reruns, Bachelor Party - The Music From The Movie, (1984)“Dead Man's Party” - Oingo Boingo, Dead Man's Party (1985)“Take Your Medicine” - Oingo Boingo, Live! For Life - Compilation (1986)“Happy” - Danny Elfman, Summer School - Original Motion Picture Soundtrack (1987)“Goodbye-Goodbye” - Oingo Boingo, Boingo Alive (1988)“Change” - Oingo Boingo, Boingo (1994)“Git It, Beau Jocque!” - Beau Jocque & The Zydeco Hi-Rollers, Git It, Beau Jocque! (1995)“The Simpsons - Theme” - Danny Elfman, Music For A Darkened Theatre -  (1990)“Hot To Trot  - Main Titles” - Danny Elfman, Music For A Darkened Theatre -  (1990) “Happy” - Danny Elfman, Big Mess (2021) Film, Radio, and TV Clips:“Rhythm Cocktail” - Cab Calloway, One Night Stand Radio Series. 23 Jan. 1946. Radio. The Forbidden Zone (1980)The Last American Virgin (1982)Summer School (1987)“The Mongolian Beef.” The Sarah Silverman Program, created by Dan Harmon, Rob Schrab, Sarah Silverman, season 2, episode 8, 2008.Fan-Supplied Content:“Goodbye-Goodbye” - The Mystic Knights of the Oingo Boingo, bootleg demo“I'm Afraid” - Oingo Boingo, bootleg demo“Something Isn't Right” - Oingo Boingo, Alternate Mix“Fast Times - TV Theme” - Oingo Boingo, (1986)“I'm Afraid” - The Mystic Knights of the Oingo Boingo, The Roxy, 3-31-1979“Goodbye-Goodbye” - The Mystic Knights of the Oingo Boingo, The Whisky, 2-03-1979“Something Isn't Right” - Oingo Boingo, The Palace, 4-28-1985“Take Your Medicine” - Oingo Boingo, The Palace, 4-28-1985Please note: The music and film clips included in this podcast (listed above) fall under the "Fair Use Doctrine" as defined by Section 107 of the Copyright Act. The law allows for use of music clips for purposes of criticism, comment, parody, and education.WEBSITEOingo Boingo Secret Appreciation SocietySUPPORTBuy Us A Coffee!Patreon

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 268 (Part 2 of 2): Guitarist Omar Mesa, best known as an original member of one of the all-time great funk-soul bands, Mandrill. Along with the Wilson brothers at its core, he shined with the group during its ascent and peak from 1970-1973.  That included the band's self-titled debut, Mandrill Is, Composite Truth and Just Outside of Town albums that spawned tracks like ”Git It,” “Ape Is High,” “Hang Loose,” which went to No. 25 on the R&B chart, “Fencewalk,” which went to No. 19, “Mango Meat,” and “Two Sisters of Mercy.”  Incorporating jazz and Latin musical elements, during that period Mandrill also gained acclaim as one the most original and fierce live acts. Having left the band in the mid-1970s, Mesa has continued to play, record and live life on his own terms. His new single is titled, “I Love the Way You Read My Mind.” RECORDED SEPTEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

** PLEASE SUBSCRIBE ** Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― “TRUTH IN RHYTHM” is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. Become a TRUTH IN RHYTHM Member through YouTube or at https://www.patreon.com/truthinrhythm. Featured in TIR Episode 268 (Part 1 of 2): Guitarist Omar Mesa, best known as an original member of one of the all-time great funk-soul bands, Mandrill. Along with the Wilson brothers at its core, he shined with the group during its ascent and peak from 1970-1973.  That included the band's self-titled debut, Mandrill Is, Composite Truth and Just Outside of Town albums that spawned tracks like ”Git It,” “Ape Is High,” “Hang Loose,” which went to No. 25 on the R&B chart, “Fencewalk,” which went to No. 19, “Mango Meat,” and “Two Sisters of Mercy.”  Incorporating jazz and Latin musical elements, during that period Mandrill also gained acclaim as one the most original and fierce live acts. Having left the band in the mid-1970s, Mesa has continued to play, record and live life on his own terms. His new single is titled, “I Love the Way You Read My Mind.” RECORDED SEPTEMBER 2022 LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

177. The Greatest Rockabilly Radio program... IN THE WORLD! Join the Aztec Werewolf, DJ Del Villarreal, as he fills the worldwide airwaves with the finest vintage & modern day rockin sounds! Lively, jumped-up 50's-styled American rock n' roll including the most recent BEAR FAMILY  That'll Flat.. Git It! compilation, a new WANDA JACKSON tribute compilation and a brilliant JOE BENNETT & THE SPARKLETONES Best Of! Fabulous NEW music to share from LUCKY JONES, SLINK MOSS, JUSTIN PICKARD, LEGACASTER, ICHI-BONS, MARCEL BONTEMPI, THE SIROCCO BROS. and THE RECKLESS ONES including a fun set of tracks from all the bands appearing this weekend at the 2022 EVILLE SHINDIG ROCKIN' WEEKENDER in Evansville, IN, spooky toons to get you ready for Halloween season and some feisty female fronted music from the LADIES OF ROCKIN' RHYTHM tour that rolls into Texas with MOZZY DEE, LITTLE RACHEL & LIL SUE (plus THE JERRELLS!) this weekend! More of BEST rockabilly ever made in this 3 hour+ episode of DJ Del Villarreal's "Go Kat, GO! The Rock-A-Billy Show!" -good to the last BOP!™

Originally from Glasgow, Scotland, Millar Jukes has been based in Melbourne for over ten years now, curating a well-respected music career in that time, with numerous singles, EPs, and even a self-titled album last year. However, it was only recently that fans got a taste of The Muscle, with single ‘Tongue Tied' introducing the expansive sound that the combination resulted in. This episode I chat with Millar Jukes about his new EP 'GIT IT' with his band The Muscle. We discussed his recording highlights, working with such a large band and putting on an Australian accent as a party trick.

150. 3 big SCOOPS of real rockin' music packed into each and every show! Serving a refreshing three hours of vintage 50's & modern roots rock in DJ Del's "Go Kat, GO! The Rock-A-Billy Show!" Satisfying rock n' roll, desperate garage, hi-octane hot rod, boppin' hillbilly and nifty neo-billy rhythms are all here for your audio consumption! Dig the latest platters from The Hi-Fly Rangers, Darrel Higham, Toto & The Raw Deal, The Jerrells, Midnight Boppers, Jesse Ray & The Carolina Catfish, The Boneshakers, Voodoo Swing, Marcel Bontempi, Slim Sandy, Slink Moss Explosion, The Sundown Boys, Austin Butler and even Tami Neilson's new album in today's exciting episode! PLUS, we don't skimp on the retro releases as we are proud to have the latest BEAR FAMILY comps in the Motorbilly Studio tonight including the latest THAT'LL FLAT... GIT IT! releases and the new Billy Jack Wills 'Shake The Shake' series release! Hear Elvis Presley's first "unofficial" recording, Jimmy Wages, Glenn Barber, Jack Scott, Faron Young, Johnny Cash, Marvin Rainwater and even some Ronnie Dawson in our Tuesday nite mix. You can't beat it for taste & satisfaction! "Go Kat, GO!" -good to the last BOP!™

We're back with new business reviews from Google and another installment of The Book of 2 Chainz! Come on, GIT IT! patreon.com/coolparents

This month we have our usual hobby, (although that's taking less time to talk about) a few rules some tourney talk as well as addressing a very well written feedback letter to us. break music - Tommy Dorsey - Well, Git It! out music - – Vera Lynn – When I grow too Old to Dream. ENJOY!!

"Swing dance" is a group of dances that developed with the swing style of jazz music in the 1920s-1950s, the origin of the dances predating popular "swing era" music. The most well-known of these dances is Lindy Hop, a fusion of jazz, tap, breakaway, and Charleston, which originated in Harlem in the early 1920s, but includes a number of other styles such as Balboa, Shag, West Coast Swing, and Boogie Woogie. “Sunday Swing” highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a one hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ***** or by email at: dannymemorylane@gmail.com ***** You’ll hear: 1) Ram-Bunk-Shush by Lucky Millinder 2) Pennsylvania 6-5000 by Glenn Miller & His Orchestra 3) Mack The Knife by Ella Fitzgerald 4) Lindyhopper's Delight by Chick Webb 5) Choo Choo Ch'Boogie by Louis Jordan & His Tympany Five 6) Bugle Call Rag by Roy Eldridge and friends 7) Wednesday Night Hop by Andy Kirk & His 12 Clouds of Joy 8) The Calloway Boogie by Cab Calloway & His Orchestra 9) Traffic Jam by Artie Shaw 10) Yacht Club Swing by Charlaine Woodard 11) Down The Road Apiece by Chuck Berry 12) Blue Lou by Metronome All Star Band 13) Tuxedo Junction by The Manhattan Transfer 14) Well, Git It! by Tommy Dorsey & His Orchestra 15) Beyond The Sea by Bobby Darin 16) Shorty George by Count Basie 17) Teardrops from My Eyes by Ruth Brown 18) Harlem Shout by Jimmie Lunceford 19) Two Hearts by Pat Boone 20) Little John Special by Lucky Millinder 21) Flying Home by Charlie Barnet & His Orchestra

This week, we dig into the similarities between punk rock and comic books. Focusing primarily on the musical and comics work of Gerard Way and Max Bemis, Doc and the Maestro talk about why punk rock and comics go so well together!This is a fun one, so GIT IT.As always, let us know what YOU’D like to hear us talk about in upcoming episodes!IG: @commoncreativespodcastcommoncreativespodcast@gmail.comrockcandyrecordings.comdestinationcomics.com

giT iT!

Guaranteed to get you out of that “lockdown funk” - The Swingin’ With Danny Lane series highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a two hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ***** or by email at dannymemorylane@gmail.com ***** You’ll hear: 1) Red Bank Boogie by Count Basie Orchestra 2) For Dancers Only by Jimmie Lunceford & His Orchestra 3) Flying Home by Lionel Hampton & His Orchestra 4) Yacht Club Swing by Fats Waller 5) Tuxedo Junction by Erskine Hawkins 6) Two O'Clock Jump by Harry James & His Orchestra 7) The Grey Bear by Alan Freed & His Band (with Sam "The Man" Taylor, ) 8) Jumpin' At The Woodside by Count Basie & His Orchestra 9) On The Sunny Side of The Street by Ella Fitzgerald & Count Basie 10) Goody Goody by Benny Goodman & His Orchestra (with Helen Ward, vocal) 11) Opus No. 1 by Tommy Dorsey & His Orchestra 12) Jumpin' Jive by Cab Calloway 13) Old Spice by Lucky Millinder 14) Darktown Strutter's Ball by The Platters 15) Go Harlem by Chick Webb 16) Jump Jive An' Wail by Louis Prima & Keely Smith (with Sam Butera & The Witnesses) 17) Little Brown Jug by Glenn Miller & His Orchestra 18) Wild Mab Of The Fish Pond by Charlie Barnet & His Orchestra 19) Drinkin' Wine Spo-Dee-O-Dee by Stick McGhee & His Buddies 20) The Grabtown Grapple by Artie Shaw & His Gramercy 5 21) Ballin' the Jack by Kid Ory's Creole Jazz Band 22) Ram-Bunk-Shush by Lucky Millinder 23) Pennsylvania 6-5000 by Glenn Miller & His Orchestra (with vocals by the band) 24) Mack The Knife by Ella Fitzgerald 25) Lindyhopper's Delight by Chick Webb 26) Choo Choo Ch'Boogie by Louis Jordan & His Tympany Five 27) Bugle Call Rag by Roy Eldridge and friends 28) Wednesday Night Hop by Andy Kirk & His 12 Clouds of Joy 29) The Calloway Boogie by Cab Calloway & His Orchestra 30) Traffic Jam by Artie Shaw 31) Yacht Club Swing by Charlaine Woodard 32) Blue Lou by Metronome All Star Band 33) Tuxedo Junction by The Manhattan Transfer 34) Well, Git It! by Tommy Dorsey & His Orchestra 35) Beyond The Sea by Bobby Darin 36) Shorty George by Count Basie 37) Teardrops from My Eyes by Ruth Brown 38) Harlem Shout by Jimmie Lunceford 39) Little John Special by Lucky Millinder 40) Flying Home by Charlie Barnet & His Orchestra

Hey! JoeyJay, Brandon Johnson, and Reine De Blanc and I all have a rollicking convershayshon about things and stuff and such, and what-not even too as well! Soothsaying your good vibes til the Diamond Dog Cows Come Home; finding the green cube in Bendigo has never been so much fun, little Morty! GIT IT! TYFYC! Donate VFVRPG style at www.occultfan.com and exit thru the gift shoppe ~

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at “Three Steps to Heaven” by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on “Quarter to Three” by Gary US Bonds. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh’s book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran’s music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn’s Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There’s been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we’re going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We’re going to look at what would be Eddie Cochran’s final tour, and at his UK number one single “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] When we left Eddie Cochran, he had just appeared in the film “The Girl Can’t Help It”, singing “Twenty Flight Rock”, and he had also had a hit with “Sittin’ in the Balcony”. But he hadn’t yet managed to establish himself as the star he knew he could be — he was the whole package, singer, songwriter, and especially guitarist, and he hadn’t yet made a record that showed him to his best advantage as an artist. “Twenty Flight Rock” had come close, but it wasn’t a song he’d written himself, and the record hadn’t yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him — they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin’ to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map — a song that would mean he wasn’t just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. “Twenty Flight Rock” hadn’t ended up being a hit at all, despite its placement in a popular film — they’d left it too long between the film coming out and releasing the record, and he’d lost that momentum. At the end of 1957 he’d gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he’d become much closer with Vincent, with whom he’d already struck up a friendship when making The Girl Can’t Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations — Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who’d been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn’t had a real hit since his first single, “Be Bop A Lula”, while Cochran had made the top twenty with “Sittin’ in the Balcony”, but the highest he’d got after that was number eighty-two. He’d recently recorded a song co-written by George Mottola, who’d written “Goodnight My Love”, but “Jeannie, Jeannie, Jeannie” stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, “Jeannie, Jeannie, Jeannie”] So neither man was in a good place at the start of 1958, but they had very different attitudes — Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist — if rock and roll didn’t work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent’s latest album. It’s Cochran singing the bass vocals at the start of “Git It”, one of Vincent’s greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, “Git It”] But shortly after that recording, a major turn in Cochran’s fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran’s records were unsuccessful was that they just didn’t have the money to promote them as much as they’d like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called “The Witch Doctor”, featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn’t have any lyrics for it, and his friend and co-writer Jerry Capehart said “there’s never been a blues about the summer”. The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran’s only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, “Summertime Blues”] That track was recorded with a minimal number of musicians — Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record — Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She’d dated one of the Everly Brothers for a while — different reports name different brothers, but the consensus seems to be that it was Don — and then when they’d split up, she’d written a song called “Poor Little Fool”. She’d then faked having her car break down outside Ricky Nelson’s house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters — Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them — but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley’s “Poor Little Fool” became Nelson’s first number one, as well as being the first number one ever on Billboard’s newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, “Poor Little Fool”] Sheeley gets unfairly pigeonholed as a groupie (not that there’s anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it’s important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four — and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren’t hits but probably deserved to be, like Ral Donner’s “Don’t Put Your Heart in His Hands”: [Excerpt: Ral Donner, “Don’t Put Your Heart in His Hands”] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as “just Eddie Cochran’s girlfriend”, when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as “just Sharon Sheeley’s boyfriend”. I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as “a groupie”, “a fantasist”, and worse, and very few mentions of the fact that she had a life outside her partner. “Summertime Blues” looked like it was going to be the start of Eddie Cochran’s career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, “C’mon Everybody”, which was written by Cochran and Capehart to much the same formula, but without the humour that characterised “Summertime Blues”, didn’t do so well: [Excerpt: Eddie Cochran, “C’mon Everybody”] That made only number thirty-five on the US charts, and would be Cochran’s last top forty record there — but in the UK, it was a bigger hit than “Summertime Blues”, reaching number six. “C’mon Everybody” was, though, big enough for Cochran to make some TV appearances. He’d agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he’d decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to “C’mon Everybody”, “Teenage Heaven”, only went to number ninety-nine on the charts, and his next two singles didn’t do much better. “Somethin’ Else”, a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles’ “Hallelujah I Love Her So” didn’t chart at all. 1959 was a depressing year for Cochran personally and professionally. But while “Somethin’ Else” and “Hallelujah I Love Her So” were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people’s minds was still that of the rockabillies from a couple of years earlier — while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran’s friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries’ musicians’ unions, it was difficult for musicians to perform in one country if they were from the other. It wasn’t quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn’t come to the UK. Unless they had nowhere else to go, that is — and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who’d burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, “Wildcat”: [Excerpt: Gene Vincent, “Wildcat”] That single wasn’t doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, “Boy Meets Girls”, based around one of Parnes’ artists, Marty Wilde, and also had a column in Disc magazine. They’d get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes’ acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He’d just got married, and he and his wife were trying for their first kid — they’d decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, “Bad Boy”: [Excerpt: Marty Wilde, “Bad Boy”] That meant that Wilde’s band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they’d be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called “Wildcat”. That made him perfect for Parnes’ purposes, though Vincent was slightly nervous about using British musicians — he simply didn’t think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good’s earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured “People Gotta Talk”: [Excerpt: Joe Brown, “People Gotta Talk”] But Brown had an independent streak, which could be seen just from his name — Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain’s most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he’d worked with in the USA. But that was about all that he liked about the UK — you couldn’t get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied — he’d strapped them both to the leg iron he used for his damaged leg, so they wouldn’t set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn’t help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he’d moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he’d already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he’d used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, “Summertime”, live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and “Wildcat” started going up the charts. Even though Gene Vincent hadn’t had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too — as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He’d been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight — all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, “Three Steps to Heaven”: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point — a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees — Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes’ acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician’s musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone — Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn’t have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him “The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin – his skin was a light brown, beautiful colour, all that California sunshine, and I thought ‘you lucky devil’. We had Manchester white all over us. And he had the most beautiful face — the photographs never did the guy justice”. From the moment Cochran started his set in Ipswich, by saying “It’s great to be here in Hipswich” and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like — and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing “Somethin’ Else”, the song that Sharon Sheeley had written for him that had been a minor hit, and he’d whirl round and face the audience on the opening line, “Well look-a there!” [Excerpt: Eddie Cochran and Gene Vincent, “Somethin’ Else [Eddie Cochran vocals]”, Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes’ acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with “Collette”, one of many hits he wrote for himself: [Excerpt: Billy Fury, “Collette”]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him — but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease — one story has him telling a nervous Fury, about to go on stage, to just say to himself “I am the greatest performer in the world”. Fury repeated back “I am the greatest performer in the world”, and Cochran replied, “No you’re not — I am!” This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour’s residency in Liverpool, during which time Cochran was opening his set with his version of “What’d I Say”: [Excerpt: Gene Vincent and Eddie Cochran, “What’d I Say [Eddie Cochran vocals]”, Saturday Club version] We have this report of Cochran’s performance in Liverpool: “Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’” That’s a quote from George Harrison in the early 1990s. He’d gone to see the show with a friend, John Lennon — it was Lennon’s first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows — he preferred records — but even he couldn’t resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes — after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks’ time, when Cochran was going to come back. It’s quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He’d asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he’d experienced. But on the other hand, he was enjoying making music with these British people. There’s a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song “My Babe” on “Boy Meets Girls”: [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they’d have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger’s “Brother Won’t You Join the Line”: [Excerpt: Ewan MacColl and Peggy Seeger, “Brother Won’t You Join the Line?”] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car — Cochran sitting between Vincent and Sheeley, as Sheeley couldn’t stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing “California Here We Come” together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle’s car made its way onward towards London, and ran out of fuel. As all-night garages weren’t a thing in Britain then, they flagged down a policeman who told them there’d been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they’d taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran’s death, “Three Steps to Heaven”, which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, “Three Steps to Heaven”] It went to number one, and became Cochran’s biggest hit. Larry Parnes didn’t see why Cochran’s death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran’s last song was “Three Steps to Heaven”. Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he’d got booked in Liverpool wouldn’t get enough of a crowd, so he booked in a number of local bands — Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers — to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we’ll pick up on what happened then in a few months. Sharon Sheeley, once she’d recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley’s husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she’d been Eddie Cochran’s girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

Episode eighty-five of A History of Rock Music in Five Hundred Songs looks at "Three Steps to Heaven" by Eddie Cochran, and at the British tour which changed music and ended his life. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on "Quarter to Three" by Gary US Bonds. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/  ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Much of the information here comes from Spencer Leigh's book Things Do Go Wrong, which looks specifically at the 1960 tour. I also used Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis.  While there are dozens of compilations of Cochran's music available, many of them are flawed in one way or another (including the Real Gone Music four-CD set, which is what I would normally recommend). This one is probably the best you can get for Cochran novices. This CD contains the Saturday Club recordings by Vincent and Cochran, which are well worth listening to.   Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn's Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There's been a sad running theme in the episodes in recent months of rock stars dying in accidents. Sadly, in the 1950s and sixties, travelling long distances was even more dangerous than it is today, and rock musicians, who had to travel a lot more than most people, and did much of that travelling at night, were more likely to be in accidents than most. Today, we're going to look at yet another of these tragic deaths, of someone who is thought of in the US as being something of a one-hit wonder, but who had a much bigger effect on British music. We're going to look at what would be Eddie Cochran's final tour, and at his UK number one single "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] When we left Eddie Cochran, he had just appeared in the film "The Girl Can't Help It", singing "Twenty Flight Rock", and he had also had a hit with "Sittin' in the Balcony". But he hadn't yet managed to establish himself as the star he knew he could be -- he was the whole package, singer, songwriter, and especially guitarist, and he hadn't yet made a record that showed him to his best advantage as an artist. "Twenty Flight Rock" had come close, but it wasn't a song he'd written himself, and the record hadn't yet been released in the US. Meanwhile, Liberty Records seemed to not understand what they had in him -- they were trying to push him to be another Pat Boone, and become a bland pop singer with no rock and roll in his sound. His first album, Singin' to My Baby, had little to do with the music that he was interested in playing. So Cochran needed to find something that would really put him on the map -- a song that would mean he wasn't just one of dozens of Fabians and Frankie Avalons and interchangeable Bobbies who were starting to take over shows like American Bandstand. "Twenty Flight Rock" hadn't ended up being a hit at all, despite its placement in a popular film -- they'd left it too long between the film coming out and releasing the record, and he'd lost that momentum. At the end of 1957 he'd gone on the Australian tour with Little Richard and Gene Vincent which had led to Richard retiring from rock and roll, and he'd become much closer with Vincent, with whom he'd already struck up a friendship when making The Girl Can't Help It. The two men bonded, particularly, over their love of guns, although they expressed that love in very different ways. Cochran had grown up in rural Minnesota, and had the same love of hunting and fishing that most men of his background did at that time (and that many still do). He was, by all accounts, an affable person, and basically well adjusted. Vincent, on the other hand, was a polite and friendly person when not drinking. Unfortunately, he was in constant pain from his leg wounds, and that meant he was drinking a lot, and when he was drunk he was an incredibly unpleasant, aggressive, person. His love of guns was mostly for threatening people with, and he seems to have latched on to Cochran as someone who could look after him when he got himself into awkward situations -- Cochran was so personally charming that he could defuse the situation when Vincent had behaved appallingly towards someone. At the time, Vincent seemed like a has-been and Cochran a never-would-be. This was late 1957, and it seemed like rock and roll records with guitars on were a fad that had already passed their sell-by date. The only white guitarist/vocalist other than Elvis who'd been having hits on a regular basis was Buddy Holly, and his records were doing worse and worse with each release. Vincent hadn't had a real hit since his first single, "Be Bop A Lula", while Cochran had made the top twenty with "Sittin' in the Balcony", but the highest he'd got after that was number eighty-two. He'd recently recorded a song co-written by George Mottola, who'd written "Goodnight My Love", but "Jeannie, Jeannie, Jeannie" stalled at number ninety-four when it was released in early 1958: [Excerpt: Eddie Cochran, "Jeannie, Jeannie, Jeannie"] So neither man was in a good place at the start of 1958, but they had very different attitudes -- Vincent was depressed and angry, but Cochran knew that something would come along. He was only nineteen, he was astonishingly good looking, he was a great guitarist -- if rock and roll didn't work out, something would. In early 1958, Cochran was still hunting for that elusive big hit, as he joined the Blue Caps in the studio, to provide bass, arrangements, and backing vocals on several tracks for Vincent's latest album. It's Cochran singing the bass vocals at the start of "Git It", one of Vincent's greatest tracks: [Excerpt: Gene Vincent and the Blue Caps, "Git It"] But shortly after that recording, a major turn in Cochran's fortunes came from an unexpected place. Liberty Records had been in financial difficulties, and part of the reason that Cochran's records were unsuccessful was that they just didn't have the money to promote them as much as they'd like. But then at the beginning of April a man called Ross Bagdasarian, under the name David Seville, released a novelty song called "The Witch Doctor", featuring some mildly racist comedy and a sped-up voice. That record became a massive hit, selling over a million copies, going to number one, and becoming the fourth most successful record of 1958. Suddenly, Liberty Records was saved from bankruptcy. That made all the difference to the success of a track that Cochran had recorded on March the 28th, the same week he recorded those Gene Vincent sessions, and which came out at the tail-end of summer. Cochran had come up with a guitar riff that he liked, but he didn't have any lyrics for it, and his friend and co-writer Jerry Capehart said "there's never been a blues about the summer". The two of them came up with some comedy lyrics in the style of the Coasters, who had just started to have big hits, and the result became Cochran's only top ten hit in the US, reaching number eight, and becoming one of the best-remembered tracks of the fifties: [Excerpt: Eddie Cochran, "Summertime Blues"] That track was recorded with a minimal number of musicians -- Cochran played all the guitars and sang both vocal parts, his bass player Guybo Smith played the bass part, and the great session drummer Earl Palmer played drums. There was also a fourth person on the record -- Sharon Sheeley, who added handclaps, and who had written the B-side. Sheeley was a talented songwriter who also had a propensity for dating musicians. She'd dated one of the Everly Brothers for a while -- different reports name different brothers, but the consensus seems to be that it was Don -- and then when they'd split up, she'd written a song called "Poor Little Fool". She'd then faked having her car break down outside Ricky Nelson's house, and collared him when he came out to help. That sort of thing seemed to happen to Nelson a lot with songwriters -- Johnny and Dorsey Burnette had sold Nelson songs by sitting on his doorstep and refusing to move until he listened to them -- but it seemed to work out very well for him. The Burnettes wrote several hits for him, while Sheeley's "Poor Little Fool" became Nelson's first number one, as well as being the first number one ever on Billboard's newly-renamed Hot One Hundred, and the first number one single on any chart to be written by a woman without a male cowriter: [Excerpt: Ricky Nelson, "Poor Little Fool"] Sheeley gets unfairly pigeonholed as a groupie (not that there's anything wrong with being a groupie) because she had relationships with musicians, and at this point she was starting a relationship with Cochran. But it's important to remember that when they got together, even though he was eighteen months older than her, she was the one who had written a number one single, and he was the one whose last record had gone to number ninety-four -- and that after her relationship with Cochran, she went on to form a writing partnership with Jackie DeShannon that produced a long string of hits for people like Brenda Lee and the Fleetwoods, as well as songs that weren't hits but probably deserved to be, like Ral Donner's "Don't Put Your Heart in His Hands": [Excerpt: Ral Donner, "Don't Put Your Heart in His Hands"] Sheeley was more invested in her relationship with Cochran than he was, but this has led rock writers to completely dismiss her as "just Eddie Cochran's girlfriend", when in terms of their relative statuses in the music industry, it would be more fair to define Cochran as "just Sharon Sheeley's boyfriend". I have to emphasise this point, because in the limited number of books about Cochran, you will see a lot of descriptions of her as "a groupie", "a fantasist", and worse, and very few mentions of the fact that she had a life outside her partner. "Summertime Blues" looked like it was going to be the start of Eddie Cochran's career as a rock and roll star, but in fact it was the peak of it, at least in the US. While the song was a big hit, the follow-up, "C'mon Everybody", which was written by Cochran and Capehart to much the same formula, but without the humour that characterised "Summertime Blues", didn't do so well: [Excerpt: Eddie Cochran, "C'mon Everybody"] That made only number thirty-five on the US charts, and would be Cochran's last top forty record there -- but in the UK, it was a bigger hit than "Summertime Blues", reaching number six. "C'mon Everybody" was, though, big enough for Cochran to make some TV appearances. He'd agreed to go on tour with his friends Buddy Holly and Ritchie Valens on a tour called the Winter Dance Party tour, but had bowed out when he got some offers of TV work. He definitely appeared on a show called Town Hall Party broadcast from California on February the second 1959, and according to Sheeley he was booked to appear in New York on the Ed Sullivan Show, which was the reason he'd decided not to do the tour, a few days later. As it turned out, Cochran never made that Ed Sullivan Show appearance, as in the early hours of February the third, his friends died in a plane crash. He refused to get on the plane to New York for the show, and instead drove out to the desert in his station wagon to grieve, and from that point on he developed a fear of flying. The follow-up to "C'mon Everybody", "Teenage Heaven", only went to number ninety-nine on the charts, and his next two singles didn't do much better. "Somethin' Else", a song that Sheeley had written for him, made number fifty-eight, while his cover version of Ray Charles' "Hallelujah I Love Her So" didn't chart at all. 1959 was a depressing year for Cochran personally and professionally. But while "Somethin' Else" and "Hallelujah I Love Her So" were flops in the US, they both made the top thirty in the UK. In the US, guitar-based white rock and roll was now firmly out of fashion, with the audience split between black vocal groups singing R&B and white male solo singers called Bobby singing mid-tempo pop. But in the UK, the image of rock and roll in people's minds was still that of the rockabillies from a couple of years earlier -- while British musical trends would start to move faster than the US by the sixties, in the fifties they lagged a long way behind. And in particular, Cochran's friend Gene Vincent was doing much better in Britain than in the US. Very few US performers had toured the UK, and with the exception of Buddy Holly, most of those who had were not particularly impressive. Because of an agreement between the two countries' musicians' unions, it was difficult for musicians to perform in one country if they were from the other. It wasn't quite so difficult for solo performers, who could be backed by local musicians and were covered under a different agreement, but Lew and Leslie Grade, who had a virtual monopoly on the UK entertainment business, had had a very bad experience with Jerry Lee Lewis when his marriage to his teenage cousin had caused his UK tour to be cancelled, and anyway, Britain was an unimportant market a long way away from America, so why would Americans come all that way? For most of 1959, the closest thing to American rock and roll stars touring the UK were Connie Francis and Paul Anka, neither of whom screamed rock and roll rebellion. American rockers just didn't come to the UK. Unless they had nowhere else to go, that is -- and Gene Vincent had nowhere else to go. In the US, he was a washed-up has been who'd burned every single bridge, but in the UK he was an American Rock Star. In late 1959 he released a not-great single, "Wildcat": [Excerpt: Gene Vincent, "Wildcat"] That single wasn't doing particularly well, but then Larry Parnes and Jack Good hatched a plan. Good had a new TV show, "Boy Meets Girls", based around one of Parnes' artists, Marty Wilde, and also had a column in Disc magazine. They'd get an American rock star over to the UK, Parnes would stick him on a bill with a bunch of Parnes' acts, Good would put him on the TV show and promote him in Disc magazine, and the tour and TV show would split the costs. Wilde was, at the time, about to go into a career slump. He'd just got married, and he and his wife were trying for their first kid -- they'd decided that if it was a girl, they were going to call her Kim. It seemed likely they were going to lose his audience of teenage girls, as he was no longer available, and so Larry Parnes was trying to move him from rock and roll into musical styles that would be more suitable for adults, so his latest single was a ballad, "Bad Boy": [Excerpt: Marty Wilde, "Bad Boy"] That meant that Wilde's band, the Wildcats, made up at this point of Tony Belcher, Big Jim Sullivan, Licorice Locking and Brian Bennett, were no longer going to be suitable to back Wilde, as they were all rock and rollers, so they'd be fine for whichever rock star they could persuade over to the UK. Vincent was the only rock star available, and his latest single was even called "Wildcat". That made him perfect for Parnes' purposes, though Vincent was slightly nervous about using British musicians -- he simply didn't think that British musicians would be any good. As it turned out, Vincent had nothing to worry about on that score at least. When he got to the studios in Didsbury, in Manchester, where Boy Meets Girls was filmed, he met some of the best session musicians Britain had to offer. The house band for the show, the Flying Squad, was a smaller version of the bands that had appeared on Good's earlier shows, a nine-piece group that included organist Cherry Wainer and session drummer Andy White, and was led by Joe Brown. Brown was a Larry Parnes artist, who at this point had released one rather uninspired single, the country-flavoured "People Gotta Talk": [Excerpt: Joe Brown, "People Gotta Talk"] But Brown had an independent streak, which could be seen just from his name -- Larry Parnes had tried to change it, as he did with all his acts, but Brown had flat-out refused to be called Elmer Twitch, the name Parnes had chosen for him. He insisted on keeping his own name, and it was under that name that he became one of Britain's most respected guitarists. Vincent, amazingly, found these British musicians to be every bit as good as any musicians he'd worked with in the USA. But that was about all that he liked about the UK -- you couldn't get a hamburger or a pizza anywhere in the whole country, and the TV was only in black and white, and it finished at 11PM. For someone like Vincent, who liked to stay up all night watching old monster movies on TV, that was completely unacceptable. Luckily for him, at least he had his gun and knife to keep him occupied -- he'd strapped them both to the leg iron he used for his damaged leg, so they wouldn't set off the metal detectors coming into the country. But whatever his thoughts about the country as a whole, he couldn't help loving the audience reaction. Jack Good knew how to present a rock and roll star to an audience, and he'd moved Vincent out of the slacks and sweater vests and blue caps into the kind of leather that he'd already had Vince Taylor wear. He got Vincent to emphasise his limp, and to look pained at all times. He was imagining Vincent as something along the lines of Richard III, and wanted him to appear as dangerous as possible. He used all the tricks of stagecraft that he'd used on Taylor, but with the added advantage that Vincent had a remarkable voice, unlike Taylor. Sadly, as is the case with almost all of the British TV of the period, the videotapes of the performances have long since been wiped, but we have poor-quality audio that demonstrates both how good Vincent was sounding and how well the British musicians were able to adapt to backing him: [Excerpt: Gene Vincent, "Summertime", live on Boy Meets Girls] After making three appearances on Boy Meets Girls, Vincent was put on tour backed by the Wildcats, on a bill with acts like Wee Willie Harris and the Bachelors (the ones who recorded for Parlophone, not the later act of the same name), and "Wildcat" started going up the charts. Even though Gene Vincent hadn't had a hit in three years, he was a massive success with the British audiences, and as a result Parnes and Good decided that it might be an idea if they got another American star over here, and the obvious choice was Eddie Cochran. Cochran had the same agent as Vincent, and so there was a working relationship there; they both knew each other and so Vincent could help persuade Cochran over; and Cochran had had a string of top thirty hits in the UK, but was commercially dead in the US. It was tempting for Cochran, too -- as well as the obvious advantage of playing to people who were actually buying his record, the geography of Britain appealed. He'd been terrified of flying since Buddy Holly and Ritchie Valens had died, but the British tour would only involve the transatlantic flight -- all the travel once he was in the UK would be by road or rail. Before he came over, he had to record his next single, to be released while he was over in the UK. So on January the 8th, 1960, Eddie Cochran went into Gold Star Studios with his normal bass player, Guybo, and with his friends Sonny Curtis and Jerry Allison, the guitarist and drummer of the Crickets, and they cut what turned out to be his last single, "Three Steps to Heaven": [Excerpt: Eddie Cochran, "Three Steps to Heaven"] Two days later, he was in Britain, for the start of what was the biggest rock and roll tour in British history to that point -- a hundred and eight live appearances, plus several TV and radio appearances, in a little over three months, playing two shows a night most nights. Parnes felt he had to work them hard to justify their fees -- Vincent was getting $2500 a week, and Cochran $1000, while for example Billy Fury, at that point the biggest of Parnes' acts, was on a salary of twenty pounds a week. While Vincent had made a great impression largely despite himself, Cochran was a different matter. Everyone seemed to love him. Unlike Vincent, he was a musician's musician, and he formed close friendships with the players on the tour. Joe Brown, for example, remembers Cochran explaining to him that if you swap the G string on your guitar for a second B string, tuned down to G, you could bend a note a full tone -- Brown used that trick to make himself one of the most sought-after session players in the UK before his own pop career started to take off. It was also apparent that while Jack Good had had to create a stage act for Gene Vincent, he didn't have to do anything to make Cochran look good in front of the cameras. Marty Wilde said of him "The first thing I noticed about Eddie was his complexion. We British lads had acne and all the usual problems, and Eddie walked in with the most beautiful hair and the most beautiful skin - his skin was a light brown, beautiful colour, all that California sunshine, and I thought 'you lucky devil'. We had Manchester white all over us. And he had the most beautiful face -- the photographs never did the guy justice". From the moment Cochran started his set in Ipswich, by saying "It's great to be here in Hipswich" and wiggling his hips, he was utterly in command of the British audiences. Thankfully, because they did so many TV and radio sessions while they were over here, we have some idea of what these shows sounded like -- and from the recordings, even when they were in the antiseptic environment of a BBC recording studio, without an audience, they still sounded fantastic. On some shows, Cochran would start with his back to the audience, the band would start playing "Somethin' Else", the song that Sharon Sheeley had written for him that had been a minor hit, and he'd whirl round and face the audience on the opening line, "Well look-a there!" [Excerpt: Eddie Cochran and Gene Vincent, "Somethin' Else [Eddie Cochran vocals]", Saturday Club version] The shows all had a number of acts on, all of them other than the stars Larry Parnes acts, and because there were so many shows, acts would get rotated in and out as the tour went on. But some of those who played on many dates were Vince Eager, who had named himself after Gene Vincent but quickly grew more attached to Eddie Cochran, who he started to regard as his best friend as the tour went on, Tony Sheridan, who was building a solo career after leaving the Oh Boy! band, Georgie Fame, who was already more interested in being a jazz and R&B pianist in the mould of Mose Allison than he was in being a pop star, Johnny Gentle, a Liverpudlian performer who never rose to massive success, and Billy Fury, by far the most talented of Parnes' acts. Fury was another Liverpudlian, who looked enough like Cochran that they could be brothers, and who had a top ten hit at the time with "Collette", one of many hits he wrote for himself: [Excerpt: Billy Fury, "Collette"]  Fury was something of a sex symbol, aided by the fact that he would stuff his pants with the cardboard tube from a toilet roll before going on stage. This would lead the girls to scream at him -- but would also lead their violent boyfriends to try to bottle him off stage, which meant he had more reason than most to have stagefright. Cochran would joke with Fury, and try to put him at ease -- one story has him telling a nervous Fury, about to go on stage, to just say to himself "I am the greatest performer in the world". Fury repeated back "I am the greatest performer in the world", and Cochran replied, "No you're not -- I am!" This kind of joking led to Cochran becoming immensely popular among all the musicians on the tour, and to him once again falling into his old role of protecting Gene Vincent from the consequences of his own actions, when Vincent would do things like cut up a suit belonging to one of the road managers, while the road manager was inside it. While Vincent was the headliner, Cochran was clearly the one who impressed the British audiences the most. We have some stories from people who saw the tour, and they all focus on Eddie. Particularly notable is the tour's residency in Liverpool, during which time Cochran was opening his set with his version of "What'd I Say": [Excerpt: Gene Vincent and Eddie Cochran, "What'd I Say [Eddie Cochran vocals]", Saturday Club version] We have this report of Cochran's performance in Liverpool: "Eddie blew me away. He had his unwound 3rd string, looked good and sang good and he was really getting to be a good guitarist… One moment will always represent Eddie to me. He finished a tune, the crowd stopped screaming and clapping, and he stepped up to the mike and before he said something he put both his hands back, pushed his hair back, and some girl, a single voice in the audience, she went ‘Eddie!’ and he said ‘Hi honey!’… I thought, ‘Yes! That’s it – rock ’n’ roll!’" That's a quote from George Harrison in the early 1990s. He'd gone to see the show with a friend, John Lennon -- it was Lennon's first ever rock and roll gig as an audience member, and one of a very small number he ever attended. Lennon never particularly enjoyed seeing live shows -- he preferred records -- but even he couldn't resist seeing Eddie Cochran and Gene Vincent on the same bill. The Liverpool shows were massive successes, despite both American rockers being increasingly bored and turning more and more to drink as a result. Apparently the two would drink a bottle of bourbon between them before going on stage, and at one Liverpool show Cochran had to hold on to a mic stand to keep himself upright for the first two songs, before he sobered up enough to let go. The shows were successful enough that a local promoter, Allan Williams, asked if he could book Cochran and Vincent for another show, and Larry Parnes said yes -- after Liverpool, they had to play Newcastle, Manchester, London, and Bristol, taking up another month, and then Eddie Cochran was going to be going back to the US for a couple of weeks, but he could pencil them in for six weeks' time, when Cochran was going to come back. It's quite surprising that Cochran agreed to come back, because he was getting thoroughly sick of the UK. He'd asked Sharon Sheeley to fly over and join him, but other than her and Vincent he had nothing of home with him, and he liked sunshine, fast food, cold beer, and all-night TV, and hated everything about the British winter, which was far darker and wetter than anything he'd experienced. But on the other hand, he was enjoying making music with these British people. There's a great recording of Cochran, Vincent, Billy Fury, and Joe Brown jamming on the Willie Dixon blues song "My Babe" on "Boy Meets Girls": [Excerpt: Eddie Cochran, Gene Vincent, Billy Fury, Joe Brown, “My Babe”] But by the time the tour ended in Bristol, Eddie was very keen to get back. He was going to be bringing Vince Eager over to America to record, and arranged to meet him in London in the early hours of Easter Sunday. They were going to be taking the lunchtime plane from what was then London Airport but is now Heathrow. But there was a problem with getting there on time. There were very few trains between Bristol and London, and they'd have to get a car from the train station to the airport. But that Easter Sunday was the day of the annual Aldermaston March against nuclear weapons. These were massive marches which were big enough that they spawned compilation albums of songs to sing on the march, like Ewan MacColl and Peggy Seeger's "Brother Won't You Join the Line": [Excerpt: Ewan MacColl and Peggy Seeger, "Brother Won't You Join the Line?"] But the main effect the march was having on Cochran and Vincent was that it meant that to be sure of catching their plane, they would have to travel overnight by car. At first, they asked one of the other artists on the tour, Johnny Gentle, if they could go in his car, but he already had a carful, so they ended up getting a local driver, named George Martin (not the one at Parlophone Records) to drive them overnight. They got into the back seat of the car -- Cochran sitting between Vincent and Sheeley, as Sheeley couldn't stand Vincent. Vincent took a sleeping pill and went to sleep almost immediately, but Sheeley and Cochran were in a good mood, singing "California Here We Come" together, when Martin took a turn too fast and hit a lamppost. Vincent and Sheeley suffered major injuries and had to spend time in hospital. Cochran died. A short while later, Johnny Gentle's car made its way onward towards London, and ran out of fuel. As all-night garages weren't a thing in Britain then, they flagged down a policeman who told them there'd been a crash, and they could see if the breakdown vehicle would let them siphon petrol from the wrecked car. They did, and it was only the next day they realised which car it was they'd taken the fuel from. One of the police at the scene – maybe even that one – was a cadet who would later change his name to Dave Dee, and become the lead singer in Dave Dee, Dozy, Beaky, Mick and Titch. As soon as the news got out about Cochran's death, "Three Steps to Heaven", which had come out in the US, but not yet in the UK, was rush-released: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] It went to number one, and became Cochran's biggest hit. Larry Parnes didn't see why Cochran's death should put a crimp in his plans, and so he immediately started promoting the shows for which Vincent and Cochran had been booked, calling them Eddie Cochran Tribute Shows, and talking to the press about how ironic it was that Cochran's last song was "Three Steps to Heaven". Vince Eager was so disgusted with Parnes that he never worked with him again. But those shows turned out to have a much bigger impact than anyone could have imagined. Allan Williams was worried that without Cochran, the show he'd got booked in Liverpool wouldn't get enough of a crowd, so he booked in a number of local bands -- Rory Storm and the Hurricanes, Cass and the Cassanovas, Nero and the Gladiators, and Gerry and the Pacemakers -- to fill out the bill. This led to all the bands and musicians in Liverpool realising, for the first time, how much talent there was in the city and how many bands there were. That one show changed Liverpool from a town where there were a few bands to a town with a music scene, and May the third 1960 can be pointed to as the day that Merseybeat started. Parnes was impressed enough by the local groups that he decided that Liverpool might be a good place to look for musicians to back his singers on the road. And we'll pick up on what happened then in a few months. Sharon Sheeley, once she'd recovered from her injuries, went on to write hits for Brenda Lee, Jackie DeShannon, the Fleetwoods, and Irma Thomas, and when Jack Good moved back to the US, she renewed her acquaintance with him, and together with Sheeley's husband they created Shindig, the most important American music show of the sixties. But by the time she died in 2002, all her obituaries talked about was that she'd been Eddie Cochran's girlfriend. And as for Gene Vincent, he was already in chronic pain, suffering mood swings, and drinking too much before the accident hospitalised him. After that, all those things intensified. He became increasingly unreliable, and the hits dried up even in Britain by mid-1961. He made some good music in the sixties, but almost nobody was listening any more, and an attempted comeback was cut short when he died, aged thirty-six, in 1971, from illnesses caused by his alcoholism. Despite their tragic deaths, Vincent and Cochran, on that 1960 UK tour, almost accidentally catalysed a revolution in British music, and the changes from that will reverberate throughout the rest of this story.

Git IT 2 'Em RAW: PEG talks up Expansive Sound SoundCloud Link: https://soundcloud.com/kdjonesmtb-gmail-com/git-it-2-em-raw-high-balanced-2 LinkTree: https://linktr.ee/PhantomElectricGhost Patreon: https://www.patreon.com/PhantomElectricGhost The Flower That Blooms at Midnight in the Tomb by Amazon.com https://www.amazon.com/dp/B07X1M63G4/ref=cm_sw_em_r_mt_dp_U_-bmGDbY4D07WY --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/phantom-electric/message

More of the best rocknroll to melt your face off. One hour of the good stuff from Frantic Flintstones, Hillbilly Casino, Frantic Rockers, The Nevrotix, Hasil Adkins and more Git It Frantic Flintstones | Flesh 'n' Fantasy | Don't The Moon Look Lonesome(Tombstone Records)1992 Hillbilly Casino | Tennessee Stomp | 80085(Self Release)2010 The Kokomo Kings | Too Good To Stay Away From | Too Good To Stay Away From(Rhythm Bomb Records)2017 Hillbilly Moon Explosion | Buy, Beg Or Steal | Rock 'n' Roll Girl(Jungle Records)2011 Frantic Rockers | Savage Beat | All Through The Night(Rhythm Bomb Records)2014 Hexxers | Freaks With The Savage Beat | You Put Me On(Golly Gee Records)2005 Rockin' Ryan & The Real Goners | Caged Heat | Wild For You Baby(Golly Gee Records)2003 Dexter Shaw & The Wolftones | Dexin' | Honey Let's Get High(Rhythm Bomb Records)2017 Boozehounds | Evil Deluxe | My Brain Hurts(Crazy Love Records)2003 The Mutilators | She Put Baby In The Microwave! | I Fucked A Zombie(Self Release)2009 Fujiyama Monsters | Fujiyama Thunder Stomp | Ruju No Yuigon(Self Release)2008 Robin | Never Mind! | King Of Boogie Night(Trippin' Elephant Records)2004 Cracks | Psychotic Pride | Headshot(Phalanx)2016 Frantic Vermin | Schmutzzz!! | Kozacks in New York(Self Release)2013 The Nevrotix | Paranoid | Mummy Boy(Crazy Love Records)2016 The Spastiks | Sewer Surfing | Sewer Surfin'(Crazy Love Records)2016 Hasil Adkins | Best Of The Haze | Sally, Wally, Hoody(Copeland International Arts)2006

Doing it again as hard as we can. Another hour of the good stuff with killer rocknroll from The Deltas, Flat Duo Jets, Henry & The Bleeders, The Test Pilots, Screaming Kids, Memphis Morticians and more. Git It Jimmy Murphy | Classic Rockabilly Vol. 02 | My Gal Dottie(Proper)2007 The Deltas | Good Times | Aligator Wine(Diablo Records)2015 Thee Raygunns | Rebel Rockers | I Sold My Soul(Raucous Records)2002 Flat Duo Jets | Two Headed Cow | Frog Went A Courtin'(Chicken Ranch Records)2008 Henry & The Bleeders | Toeing The Line | Let It Slide(Western Star Recording)2013 Rockin' Ryan & The Real Goners | Caged Heat | Get On Or Get Off(Golly Gee Records)2003 Hi-Strung Ramblers | I'm A Rambler | I Don't Care(Wild Records)2010 The Mutilators | Hot Rod Whore! | Too Much(Self Release)2003 The Test Pilots | Parachute Party | Flipped Out, Twisted N' Trashed(Martin's Garage)2015 Boston Rats | This Ain't Rock 'n' Roll | Monster(Western Star Recordings)2014 Swamp Dogs | My True Story | My True Story(Rundell Records)1989 | The Boppin' Gliesers | Gotta Have My Way | Believe Me Lil' Woman(Viva Las Vegas)2012 Screaming Kids | Don't Get Down | Don't Get Down(Nervous Records)1990 The Meteors | Madman Roll | Madman Roll(Sonovabitch Records)1991 The Hangmen | No Happy Endings | The Evil's Calling(Ripper Records)2003 Memphis Morticians | 1,000,000 Delinquents | Roll Them Bones(Space Hearse Records)2009 Carlos & The Bandidos | The Usual Bandidos | Jockey Full Of Bourbon(Part Records)2003

Git It The Cramps | Look Mom No Head! | Bend Over, I'll Drive(Vengeance Records)1991 Go-Go Killers | Hallucinogenitalia | Birthday Cake(Self Release)2016 The Devil Dogs | 30 Sizzling Slabs | Cheescake(Crypt Records)1992 Scott H. Biram | Nothin' But Blood | Only Whiskey(Bloodshot Records)2014 Furious | Wreck The Hoose Juice | Don't Change Your Style(Cut Throat)2010 Spellbound | Eleven Deadly Sins | Just In Time(Stompin Ground Records)2007 Demented Are Go | In Sickness & In Health | Pervy In The Park(ID Records)1986 Surfin' Wombatz | Lager Loutz | Wild Man(Nervous Records)1989 Manic Pistoleros | Silver Bullet | Something Strange(Self Release)2011 The Bullet Biters | Demon Mind | Running Straight Into The Fire(Self Release)2015 Thee Waltons | Get Out Yer Vegetables | Tear It Up(Anagram Records)2008 The Deadcats | Bucket O' Love | Goin' Down To Memphis(Flying Saucer Records)1996 Big Nitrons | Pornification | Going To Bayside(Thirteen Records)2009 Nigel Lewis & The Zorchmen | Ain't What I Call Rock'n'roll | Ain't What I Call Rock'n'roll(Crazy Love Records)2010 Jackie Lee Cochran | That'll Flat Git It Vol. 02 Decca | Mama Don't You Think I Know(Bear Family)1992 The Legendary Raw Deal | Badlands Mud | Who Cares What You Call Rock N Roll (The Lonesome Small Boys Blues)(Mutant Rock Records)2012 Hank Robot & The Ethnics | Elvis-Jello Mojo | Where Are You Gonna Go?(Moody Monkey Records)2016

More of the best again this with with the greatest rocknroll on earth from The Untamed, The Vibro Champs, The Delta Bombers, The Husbands, The Quakes, Long Tall Texans and more Git It The Untamed | Delicious Death | Annie(Heptown Records)2008 The Vibro Champs | Mr. International | Dance With The Fat Daddy(Eclectone)2009 The Meteors | Wreckin' Crew | Blue Sunshine(I.D. Records)1983 Rusty York | That'll Flat Git It Vol. 10 Chess | Sweet Talk(Bear Family)1999 Blue Demon | Shot To Ruin | Right Out Of Grace(Mimashima Records)2006 Mad Sin | Distorted Dimensions | No Escape(Maybe Crazy Records | 1990 Damage Done By Worms | Suicide City | Darkside(Downer Records)1999 The Delta Bombers | Howlin' | For Your Love(Wild Records)2009 Tom & The Craftsmen | Desperate Rock 'n' Roll Vol. 01 | The Work Song(Flame)1987 Big T Tyler | Hey DJ Play Some R'N'R Jivers Vol 1 | King Kong(HDR) The Blue Flames | Drivin' And Dyin' In Texas | Predictable(Voodoo Valley)2003 The Husbands | Introducing The Sounds Of The Husbands | Orphan Boy(Swami Records)2003 Los Peyotes | Cavernicola! | I Caveman And You(Rockaway Records)2005 The Quakes | Quiff Rock | Mexicali Baby(Orrexx Records)1996 Stressor | No More Panic | Beautiful Bird(Crazy Love Records)2014 The Rocket Beats | Human Tornado | Electrical(Crazy Love Records)2015 Long Tall Texans | The Devil Made Us Do It | Terry(Sunny Bastards Music)2014

Another week gone by with another hour of the greatest rocknroll on earth. More pure greatness from Mac Curtis, Kings Of Nuthin, Hillbilly Casino, The Violent Shifters, Agent Orange, Link Wray, and more. Git It Asmodeus | Diabolique Royale | Semi - Crazy(Hairball 8)2004 The Legendary Raw Deal | Flick Knifin',Low Lifin',Bone Chillin', Dinosaur Killin',Kickarse Fuckabilly Boogie | If You Don't Like The Way I Rock(Mental Disorder Records)1999 Mac Curtis | Good Rockin' Tomorrow: Rockabilly Uprising | Hard Hearted Girl(Rollin' Rock Records)1975 Es-Feiv | Cows In Motion | Everything She Says(Kix 4 U Records)1989 Mad Sin | Burn & Rise | Devils Tail(People Like You)2010 Kings Of Nuthin' | Fight Songs | 11 To 3(Disaster Records)2002 Hillbilly Casino | Sucker Punched | Sooner Than Today(Self Release)2007 The Monsters | I Still Love Her | I Still Love Her(Soundflat Records)2007 The Violent Shifters | Wide Open Baby!! | Just Filth(Self Release)2014 Agent Orange | Living In Darkness | Everthing Turns Grey(Posh Boy)1980 Nick Curran & The Nitelifes | Player! | Honey Bee(Blind Pig Records)2004 JD McPherson | Signs & Signifiers | Fire Bug(Hi-Style Records)2012 Imelda May | Mayhem | Mayhem(Decca)2010 The Magnetix | Boo-Bop-A-Boo | Ain't Nobody But You(Crazy Love Records)2011 Bamboula | Guilty Pleasures | Chewing Gum & Ecstasy(Kaiser Records)2009 Link Wray | Rumble! The Best Of Link Wray | Hidden Charms(Rhino Records)1993 Mojo Nixon & Skid Roper | Root Hog Or Die | Debbie Gibson Is Pregnant With My Two Headed Love Child(Enigma Records)1989 Mojo Nixon | UFOs, Big Rigs & BBQ / Chug-A-Lug | Ufo's, Big Rigs And Bbq(Diesel Only Records)1992

Brand new greatness from The Peacocks as well of other killer tracks from Demented Are Go, The Minestompers, Corpse Show Creeps, L'Assassins and more. Git It The Peacocks | Flamingo | Black Void(Concrete Jungle Records)2017 Demented Are Go | Kicked Out Of Hell | Human Slug(I.D. Records)1989 The Minestompers | The Minestompers | Demon Twist(Crazy Love Records)2015 Alphabet Bombers | Panic Attack | Panic Attack(Self Release)2011 Bang Bang Bazooka | Hell Yeah!!! | Werewolf On The Prowl(Crazy Love Records)2007 Dead Bundy & The Neat Neat Neats | Bad Moon Death Trip | Werewolf In A Girl's Dormitory(Self Release)2011 Corpse Show Creeps | Blackblood Call | Werewolves(Hairball 8)2007 Lonesome Kings | Shotgun Full Of Blues | Hell's What I'm Used To(Emerald City Sounds)2003 The Peacocks | Flamingo | I've Had Enough(Concrete Jungle Records)2017 L'Assassins | Kil Kill Kill! Bang Bang Bang! | Want You(Big Action Records)2014 Reach Around Rodeo Clowns | Dark Days Dark Nights | Jesus And Satan(Inner Knot)2010 Reverend Horton Heat | Space Heater | Baby I'm Drunk(Interscope Records)1998 Archie | Listen To What Archie Sez | Casting My Spell(Kix 4 U Records)1986 The Peacocks | It's Time For The Peacocks | This Time(Crazy Love Records)2004 Small Town Pimps | B-I-N-G-O | Hooker Bop(Knockout Records)2000 Phantom Rockers | Av' Some Of This! | Valley Of The Kings(Tombstone Records)1997 Mojo Nixon | UFOs, Big Rigs & BBQ / Chug-A-Lug | Chug-A-Lug(Diesel Only Records)1992

This week we had a couple friends from out of town visit the basement. We all drank too much and shit got sloppy. Still plenty of killer rocknroll to be had. Git It Kings Of Nuthin' | Old Habits Die Hard | Same Situation(People Like You)2010 Peter & The Test Tube Babies | Alien Pubduction | Twenty Years(Pub City Royal)1998 Ross Kleiner & The Thrill | You Don't Move Me | You Don't Move Me(Self Release)2013 The Del Moroccos | Blue Black Hair | Baby Doll(Hi-Style Records)2008 Faraway Boys | Pirate Ship Set Sail | Doing Time In Hell(Self Release)2008 Corpse Show Creeps | Blackblood Call | Werewolves(Hairball 8)2007 Robin | My Way | Red Hot(Big Rumble Productions)2002 The Briefs | Off The Charts | We Americans(Dirtnap Records)2003 The Adicts | Songs Of Praise | Songs Of Praise(Fallout Records)1981 The Dickies | Dawn Of The Dickies(I'm Stuck In A Pagoda With) Tricia Toyota(A&M Records)1979 Krewmen | The Adventures Of The Krewmen | Don't Give A Toss(Lost Moment Records)1986 Spellbound | Legend Of The Past | Spellbound(Tombstone Records)2004 The Magnetix | With Their Amazing First Album! | Gone Gone Crazy(Crazy Love Records)2011 Nekromantix | A Symphony Of Wolf Tones & Ghost Notes | Creeping It Real(Hellcat Records)2016 The Monster Klub | The House Of Miracles | The House Of Miracles(Raucous Records)2013 Milwaukee Wildmen | Bloodmoon Shadow | Die Alone(Diablo Records)2016 Fear | The Record | Fuck Christmas(Slash Records)1982

Back in the basement again with more of the good stuff. One hour of this greatness we call rocknroll from The Mutilators, The Delta Bombers, Go-Go Killers, The Baboons, Demented Scumcats, Furious and more Git It The MutilatorsShe Put The Baby In The MicrowaveShe Put The Baby In The Microwave(Self Release)2009 The Delta BombersHowlin'Howlin'(Wild Records)2009 Bang Bang BazookaRedhot & HornyI Like It Hot(Self Release)2012 FuriousWreck The Hoose JuiceNo Ifs No Buts No Maybes(Cut Throat)2010 The CrampsLook Mom No Head!I Wanna Get In Your Pants(Big Beat Records)1991 Go-Go KillersHallucinogenitaliaPlanet Fuck(Self Release)2016 Memphis MorticiansBereave It Or Not ... Another Album From The Memphis MorticiansStrange Invaders(Space Hearse Records)2013 SlapbacksRockabilly BluesWaitin' In School(Self Release)2002 The BaboonsBack ScratchNaked Girls(Drunkabilly Records)2011 The Charmin BastardsPlay With FirePlay With Fire(G-Point Records)2006 The QuakesLast Of The Human BeingsKilling Moon(Orrexx Records)2002 Shakin' D.T'sFuck Off N' Ave That!Rip It Up(Diablo Records)2016 The MeteorsTeenagers From Outer SpaceVoodoo Rhythm(Big Beat Records)1986 Demented ScumcatsSplatter BabyPitchfork Blues(Crazy Love Records)2005 Frantic FlintstonesPsycho Samba My WayLying Naked(Drunkabilly Records)2009 Damage Done By WormsTonightWonderland(Streetmusic Berlin)1999 Alley DukesGo Back To CollegeOn My Face(Flying Saucer Records)2007

Giving you another hour of the good stuff with killer rocknroll from The Deltas, Hipbone Slime & The Kneetremblers, Craks, Kings Of Nuthin, The Zipheads and more Git It The Deltas | Good Times | Wreck Your Country(Diablo Records)2015 Doug Powell | That'll Flat Git It Vol. 09 Decca | Tired Man(Bear Family)1999 Hipbone Slim & The Kneetremblers | Ugly Mobile | Number One Son(Beast Records)2013 The Blasters | Testament: The Complete Slash Recordings | No Other Girl(Warner Bros.)2002 Cracks | Psychotic Pride | Moon Maniac(Phalanx)2016 Spike | Glory Or Death | Glory Or Death(On The Hill Records)2003 Robin | Buried In Blood | Where Eagles Dare(Trippin' Elephant Records)2005 Rumble Club | The Bad In Me | Brakes Are Burning Coal(Wolverine Records)2009 The Minestompers | The Minestompers | Leprechaun Boogie(Crazy Love Records)2015 Kings Of Nuthin' | Punkrock, Rhythm & Blues | Quick Fix(People Like You)2005 As Diabatz | 1St Degree Crazy Psychos | She Forgot How To Pray(Drunkabilly Records)2012 Batmobile | Amazons From Outer Space | Jungle Night(Count Orlok Music)1989 Dypsomaniaxe | One Too Many | Dangerous Liaisons(Tombstone Records)1992 The Zipheads | Z2:Rampage! | Last Man On Earth(Bomber Music)2016 The Peacocks | It's Time For The Peacocks | For You(Crazy Love Records)2004 The Caravans | Saturday Nite's Alright | Mr. Moustache(Crazy Love Records)1999 Mojo Nixon & Skid Roper | Root Hog Or Die | This Land Is Your Land(Enigma Records)1989

The next newest one for your listening enjoyment. Pure greatness with The Monsters, The Magnetix, Milwaukee Wildmen, Chuck Berry, The Moonshine Stalkers and more. Git It The Monsters | M | Happy People Make Me Sick(Voodoo Rhythm Records)2016 The Magnetix | Rabbit The Robot, Robot The Rocket | Martian Fever(Crazy Love Records)2016 Mystery Gang | Jungle Fever | Little Schoolgirl Of Mine(Rhythm Bomb)2007 The Moggies | Squirrel Cereal Killer | Be My Girl(Self Release)2016 13 Mansion | Endless Murder | Satisfaction(Evil Box)2006 The Mummies | Never Been Caught | Justine(Telstar Records)2002 Chuck Berry | The Chess Box | Ain't That Just Like A Woman(Chess)1988 Powersolo | Got A Sack O' Dope Hidden In My Ass | Wow Wow Baby(Mastermind Records)2001 L'Assassins | L'Assassins | Black Book(Big Action Records)2012 The Violent Shifters | Wide Open Baby!! | Engine Horse(Self Release)2014 Milwaukee Wildmen | Bloodmoon Shadow | Dead Heros(Diablo Records)2016 The Hyperjax | March To Your Own Beat | Blast Me Into Outer Space(Lime Digital Music)2015 Graveyard Johnnys | Dead Transmission | For Tonight(Bomber Music)2015 The Moonshine Stalkers | Last Day on Earth | John Doe(Diablo Records)2016 The Doppelgangers | Bad, Bad Man | Partners In Crime(Diablo Records)2013 Dead Bundy & The Neat Neat Neats | Train To Paradise | Train To Paradise(Self Release)2013 The Monsters | M | Dig My Hair(Voodoo Rhythm Records)2016

Giving it all we got this week, we bring you another hour of the greatest rocknroll on earth. Absolute greatness from Dayglo Abortions, The Zipheads, The Frogs, Bob Wayne, Hellbound Glory, Hi-Strung Ramblers and more. Git It Dayglo Abortions | Feed Us A Fetus | Wake Up America(Beer City Records)2001 The Zipheads | Prehistoric Beat | Revenge(Self Release)2013 Graveyard Johnnys | Dead Transmission | Because Of You(Bomber Music)2015 The Caravans | Saturday Nite's Alright | Restless Heart(Crazy Love Records)1999 The Frogs | Inshallah | Bufotenin(Drunkabilly Records)2016 Carlos & The Bandidos | For A Few Dollars Less | Thinkin' About You(Noose Records)1999 Hi-Strung Ramblers | Hobo Bop | If You Want My Love(Wild Records)2005 Tazmanian Devils | Evil Boppin' | Beware Of The Martians(Razmataz Records)2005 Elektraws | Shock Rock | Let's Cry Out(Nervous Records)1996 The Boppin' Gliesers | Gotta Have My Way | Believe Me Lil' Woman(Viva Las Vegas)2012 The Monster Klub | The House Of Miracles | Baby's Got A Battle Axe(Raucous Records)2013 Boogie Punkers | The Brooklyn Sessions | Corridor(El Beasto Recordings)2006 Corpse Show Creeps | Blackblood Call | One Nail(Hairball 8)2007 Bob Wayne | Till The Wheels Fall Off | Fuck The Law(People Like You)2012 Hellbound Glory | Old High And New Lows | Hank Williams Records(Rusty Knuckles)2010 Bible Belt Sinners | Devil Ridin' Shotgun | Wrong Kinda Girl(Self Release)2011 Dayglo Abortions | Feed Us A Fetus | Ronald McRaygun(Beer City Records)2001

The Cramps, Rochee & The Sarnos, Legendary Shack Shakers, Toothless George, Drunken Hobos, The Blasters, and more. An hour of the good stuff like we do. Git It The Cramps | Songs The Lord Taught Us | Tv Set(Emi Music Distribution)1980 Rochee And The Sarnos | Understanding Sarno | Sexy Sarno(Nervous Records)1985 The Quakes | Voice Of America | Puttin' Out The Flame(Nervous Records)1990 The Termites | Overload | Last Night(Link Records)1990 Kemp | Go Psycho | Red wine(Diablo Records)2015 The Astro Zombies | Frogs Legs | Monster Stroll(Crazy Love Records)2015 The Chills | Something To Die For | Let's Lynch The Landlord(Western Star Recordings)2010 The Legendary Shack Shakers | Pandelirium | Ichabod!(Yep Roc Records)2005 The Legendary Shack Shakers | Agridustrial | Dixie Iron Fist(Colonel Knowledge)2010 The Legendary Shack Shakers | The Southern Surreal | Christ Alrighty(Alternative Tentacles)2015 The Matadors | Sweet Revenge | If Youre Gonna Bitch (I'm Gonna Drink)(Stumble Records)2013 Toothless George | Lone Wolf | Because You're Young(Schuylkill Records)2005 Drunken Hobo's | 25 Years Of Intoxicating Rockabilly | I Met Her At A Party(Self Release)2009 The Blasters | Testament: The Complete Slash Recordings | Tag Along(Warner Bros.)2002 Rip Carson & The Twilight Trio | Stand Back | Little Red Hen(Rollin' Rock Records)2000 Carlos & The Bandidos | A Fist Full Of Carlos | Don't Tell Me No Lies(Noose Records)2001 Tazmanian Devils | Evil Boppin' | Killing Kind Of Love(Razmataz Records)2005

This week we went long and brought you a bonus hour of rocknroll. 2 hours or so of the best there is featuring The Goddamn Gallows, The Piss Poor Players, Jerry Lee Lewis, Los Gatos Locos, The Royal Crowns, The Nevrotix , brand new music from Sasquatch and the Sick-a-Billys and more. Git It Batman & Robin | My Hero-Power Is My Moustache | Unable To Speak After Drinking UH! Whiskey!(Bachelor Records)2009 Sasquatch and the Sick-a-Billys | Enjoy The Blood | My Dark Side(Self Release)2016 The Goddamn Gallows | Gutterbilly Blues | Gutterbilly Blues(GBC Records)2007 Jane Rose & The Deadend Boys | Moonshine, Murder & Poultricide | Wrong Kind Of Guy(Self Release)2011 Jerry Lee Lewis | All Killer, No Filler | Great Balls Of Fire(Rhino Records)1993 Los Gatos Locos | Psychobilly Baptism | God Ain't Listening(Tombstone Records)1997 Battle Of Ninjamanz | Bastard | Last Survivor(Big Rumble Productions)2004 Screamin' Black Cadillacs | Zombie Night In Canada Vol. 2 | I Know(Stumble Records)2005 Johnny Nightmare | Psychobilly Scarecrow | Dagger Love(Crazy Love Records)2011 Nekromantix | Brought Back To Life | Back From The Grave(Crazy Love Records)2005 Mystery Gang | Jungle Fever | Bang Bang Boogie(Rhythm Bomb)2007 Bang Bang Bazooka | Hell Yeah!!! | Dragon Tattoo(Crazy Love Records)2007 The Delta Bombers | Howlin' | Nobodys Guy(Wild Records)2009 Sasquatch and the Sick-a-Billys | Enjoy The Blood | After-Midnight Guitar-Slinging' Man(Self Release)2016 Faraway Boys | Faraway Boys | Cowboy Moon(Self Release)2008 The Goddamn Gallows | 7 Devils | Waiting Around To Die(Farmageddon Recrods)2011 The Piss Poor Players | Poor and Lonesome | Never Gonna Change(Self Release)2015 The Piss Poor Players | Poor and Lonesome | No Good Til I Die(Self Release)2015 King Sickabilly | Weird Sounds From The Underground | Song For The Lost(Self Release)2010 The Blue Flames | Drivin' And Dyin' In Texas | Bad Li'l Girl(Voodoo Valley)2003 The Shockers | Kc Promo 4/5 | Slaughter Haus(Self Release)2010 The Hypnophonics | Last Band On Earth | Youth On The Loose(Stomp Records)2009 Screaming Kids | Don't Get Down | Stop Shakin' Them(Nervous Records)1990 The Shakin' Pyramids | Skin 'em Up | Let's Go(Virgin)1981 The Moggies | Squirrel Cereal Killer | Jealousy(Self Release)2016 The Wolfgangs | Shout With The Devil | Fast Bullit(Longneck Records)2011 The Royal Crowns | Zombie Night In Canada Vol. 2 | Goonie Bird(Stumble Records)2005 Hillbilly Hellcats | Our Brand | Train To Nowhere(Rockin' Cat Records)2001 Vulture Club | Roadkill Cafe | Darkling(Self Release)2008 Nekromantix | Dead Girls Don't Cry | Moon Chaser(Hellcat Records)2004 The Nevrotix | Paranoid | Nightmares(Crazy Love Records)2016 Poison Bar | Mutated Liquidators | Get The Fuck Out Of Here Boogie(Karliki Records)2012 Boogie Punkers | The Boogie Punkers | Go, Go, Go!(Downer Records)2003 The Meteors | Wreckin' Crew | I Ain't Ready(I.D. Records)1983 Mojo Nixon & Jello Biafra | Prairie Home Invasion | Nostalgia For An Age That Never Existed(Alternative Tentacles)1994

Doing it again. Get the newest hour of the greatest rocknroll around. Pure greatness from The Quakes, The Hillmans, Guitar Slingers, Demented Are Go, Hank Robot & The Ethincs and more Git It Robin | Dead Luck City | Straight To Hell(Pineapple Records)2007 Sir Psyko And His Monsters | Zombie Rock | Jimmy The Butcher(Crazy Love Records)2008 Lonesome Kings | Legendary Suffering | Legendary Suffering(Kaiser Records)2006 The Meteors | Madman Roll | Bertha Lou(Sonovabitch Records)1991 The Quakes | Last Of The Human Beings | I Don't Come From Nowhere(Orrexx Records)2002 The Hillmans | Kings Of The Weald Frontier | Dreading Dixie(Western Star Recordings)2015 Henry & The Bleeders | Those Teenage Bleeders | What'll I Do(Ambassador)2007 The Caravans | Saturday Nite's Alright | Cruel World(Crazy Love Records)1999 Gorilla | Revel Without A Cause | Casavargo(Revel Yell Music)2000 The KDV Deviators | Lost Contact | Behind The Glass(Drunkabilly Records)2012 Batmobile | Amazons From Outer Space | Dead (I Want Them When They Are Dead)(Count Orlok Music)1989 The Magnetix | Boo-Bop-A-Boo | Caveman Beat(Crazy Love Records)2011 Guitar Slingers | Carnevil Of Souls | The Invaders(Diablo Records)2015 Deadbillys | Blood, Roses And Angel Wings | Walkin On Her Grave(Sumbitch Records)2004 Demented Are Go | Hellbilly Storm | When Death Rides A Horse (Bonus Track)(People Like You)2005 The Tombstones | Twang From The Grave | Preachin', Playin', Guitar Playin'(Saustex Media)2005 Hank Robot & The Ethnics | Elvis-Jello Mojo | Where Are You Gonna Go?(Moody Monkey Records)2016

More of the good stuff again with another hour of the greatest rocknroll on earth. Featuring music from Swamp Dogs, The Griswalds, Coffin Nails, Delirium Tremens, The Rockets, Red Elvises and more. Git It The SpastiksSewer SurfingMy Baby Was Abducted By Aliens(Crazy Love Records)2016 Swamp DogsMy True StoryMy True Story(Rundell Records)1989 GriswaldsWho Framed The Griswalds?Stop Jump About(Nervous Records)1989 Coffin NailsEin Bier BitteLet's Wreck(Nervous Records)1987 Delirium TremensPsychovorePsycho From Outer Space(Self Release)2009 Demented Are GoIn Sickness & In HealthFrenzied Beat(ID Records)1986 The TermitesKicked In The TeethPlanet Orbitron(Crazy Love Records)2008 Blazing HaleyMas ChingonRunaway Truck Ramp Love(Rode To Ruin Records)2002 Hillbilly HellcatsRev It Up With TazMy Baby Moved(Rockin' Cat Records)2003 The RocketzWe Are...Label On The Bottle(Self Release)2009 Mad Dog ColeSon Of SatanBetter Off Dead(Crazy Love Records)2012 Rumble ClubThe Bad In MePsychobilly Willie(Wolverine Records)2009 The Bone MachineLa Vita Finisce, La Strada NoSono Un Cane(Self Release)2007 The Epileptic HillbillysTake 2Return of the Wolfman(Western Star Recordings)2014 SpellboundA Tribute To Nigel Lewis "The Guv'nor"Rockabilly Psychosis(Diablo Records)2016 Frantic VerminSchmutzzz!!Cum to Me(Self Release)2013 Red ElvisesRussian BellydanceBellydance(Shooba-Doobah Records)1999

Git It The Quakes | The Quakes | Nine Lives(Nervous Records)1988 The Meteors | The Power Of 3 | Big Deal (What Have You Done?)(Mutant Rock Records)2016 Guitar Slingers | Hellhouse Stomp | Fuck You(Diablo Records)2015 Godless Wicked Creeps | Smile | Liar | Crazy Love Records)2001 Reach Around Rodeo Clowns | Dark Days Dark Nights | Exit 14(Inner Knot)2010 Coffin Nails | Out For The Weekend | Girl Next Door(Greystone Records)2002 Long Tall Texans | The Devil Made Us Do It | Let Me Go(Sunny Bastards Music)2014 Chernobyl Babies | Punx Rules | Pogo Fun For Everyone!(Joe Pogo Records)2010 Demented Are Go | Tangenital Madness On A Pleasant Side Of Hell | Faries At The Bottom Of My Garden(Fury Records)1993 Hillbilly Casino | Three Step Windup | Iron Fist(Self Release)2008 Frantic Flintstones | Flesh 'n' Fantasy | Out Of My Face(Tombstone Records)1992 Mad Sin | Chills And Thrills In A Drama Of Mad Sins And Mystery | Shake The Thing(Maybe Crazy Records)1988 The Frogs | Revenge Of The Frogs | Neighbourhood(Razmataz Records)2010 Red Elvises | Surfing In Siberia | I Wanna Rock 'n' Roll All Night(Shooba-Doobah Records)1996 Southern Culture On The Skids | Liquored Up And Lacquered Down | Drunk And Lonsome (Again)(Telstar Records)2000 Ray Condo & The Ricochets | High & Wild | Be Careful(Joaquin Records)2000 The Cramps | Stay Sick! | Everything Goes(Enigma Records)1990 Reverend Elvis And The Undead Syncopators | Desperation | They Know What You Do(SuzyQ Records)2013 Bloodshot Bill | Rockabilly Trash | Root-Toot-Toot(Self Release)2004 The Moonshine Stalkers | Last Day On Earth | Asphyxia(Diablo Records)2016

Playing a whole pant-load of new stuff this week like it was fucking Christmas. We got new stuff from The Moonshine Stalkers, The Spastiks, The Frogs, Ross Kleiner & The Thrill, The Retarded Ratz and more Git It The Moonshine Stalkers | Last Day On Earth | Visitors(Diablo Records)2016 The Spastiks | Sewer Surfing | Retard(Crazy Love Records)2016 The Lab Ratz | Terror Is Loose! | Trop Tard(Crazy Love Records)2016 The Retarded Rats | Screams From The 10th Planet | Headshot(Killjoy Records)2016 Cooterfinger | Three Chords And A Grudge | Three Chords And A Grudge(Illbilly Records)2003 The Cramps | Stay Sick! | Muleskinner Blues(Enigma Records)1990 Elvis Hitler | Hellbilly | Gear Jammin' Hero(Restless Records)1989 The Epileptic Hillbillys | Atomic - It's The Bomb ! | They Came From Another World(Western Star Records)2016 Surf Rats | Trouble | Lost In The Desert(Lost Moment Records)1988 Surfin' Wombatz | Dr. Sathans House Of Terror | Planet Of The Psychobilly Apes(Self Release)2014 Ross Kleiner & The Thrill | Kingdom | Terrified(Self Release)2016 JD McPherson | Signs & Signifiers | North Side Gal(Hi-Style Records)2012 Jessica Lee Wilkes | Lone Wolf | Groove's Too Shallow(Free Dirt Records)2015 Frantic Vermin | Schmutzzz!! | The Underground(Self Release)2013 The Humanoids | The Humanoids | Neon Death(Self Release)2012 The Tremors | The Scourge Of The South | Real Short Fuse(Brain Drain Records)2004 The Frogs | Inshallah | Mr. Snake(Drunkabilly Records)2016 The Frogs | Inshallah | The Day It Rained Frogs(Drunkabilly Records)2016

Back again with episode 153. This week we went a bit long with almost two hours of the good stuff from The Meteors, Krewmen, As Diabatz, Alley Dukes, Ross Kleiner & The Thrill, Rip Carson, Deadbolt and more. This week we also added Demented Scumcats "Splatter Baby" to The List. Git It. The Meteors | Madman Roll | Madman Roll(Sonovabitch Records)1991 The Termites | Kicked In The Teeth | FTW(Crazy Love Records)2008 The Moonshine Stalkers | Splatter House | Gypsy Curse(Diablo Records)2014 Krewmen | Plague Of The Dead | What's Wrong(Lost Moment Records)1988 Stressor | Burn Out! | Wolfman(Crazy Love Records)2008 As Diabatz | Riding Through The Devil's Hill | Necrolove(Drunkabilly Records)2009 The Howling Wolfmen | Asylum Rock | Billy The Kid(Razmataz Records)2011 Frantic Flintstones | Speed Kills | Speed Kills(Crazy Love Records)1998 Blue Demon | Shot To Ruin | Right Out Of Grace(Mimashima Records)2006 Sasquatch And The Sick-A-Billys | Storming the Gates | Hellbound(Self Release)2007 Demented Scumcats | Splatter Baby | Blue Viper(Crazy Love Records)2005 Demented Scumcats | Splatter Baby | White Stocking Tops(Crazy Love Records)2005 Demented Scumcats | Splatter Baby | Pitchfork Blues(Crazy Love Records)2005 Benny Barnes | Ultra Rare Rockabilly's Volume 2 | You Gotta Pay(Chief)1992 Tommy Scott & His Ramblers | That'll Flat Git It Volume 26 | Jumpin' From 6 To 6(Bear Family)2011 Alley Dukes | Northern Rednecks | No More Hot Dogs(Flying Saucer Records)2006 Mojo Nixon And Skid Roper | Bo-Day-Shus!!! | The Story Of One Chord(Enigma Records)1987 Demented Scumcats | Splatter Baby | Hills On Fire(Crazy Love Records)2005 Skitzo | Love 'N' Hate | The Devil's Game(Diablo Records)2013 Ross Kleiner & The Thrill | You Don't Move Me | You Don't Move Me(Self Release)2013 The Phantom | Born Bad Volume 2 | Love Me(Born Bad)1991 Link Wray | Rumble! (The Best Of)Ain't That Lovin' You Babe(Rhino Records)1993 Bottlenose Koffins | Gayzilla! | Kristy Yamaguchi(Self Release)2013 Hexxers | Freaks With The Savage Beat | I Can Beat Your Drum(Golly Gee)2005 Rockin' Ryan & The Real Goners | Caged Heat | When's Daddy Gettin' Paid(Golly Gee)2003 Rip Carson | My Simple Life | The Hate Inside Of Me(Golly Gee)2005 The Farrell Bros | Curbstomp Boogie | My Little Sister's Gotta Motorbike(Raucous)2003 Deadbolt | Tijuana Hit Squad | Goin' To Witchata(Headhunter)1996 Deadbolt | Shrunken Head | Blue Light(Headhunter)1994

Episode 152 brings you more of the good stuff. Another hour of the greatest rocknroll on earth. Featuring pure greatness from Them Damned Young Livers, The Violent Shifters, Graveyard Johnnys, Epileptic Hillbillys, Hillbilly Casino, Mojo Nixon and more. Git It. Them Damned Young Livers | Psalms Of Ill Repute | Love Fight(Little Class Records)2010 Guitar Slingers | One Man Freakshow | One Man Freakshow(Crazy Love Records)2010 The Moonshine Stalkers | Splatter House | Space Clowns(Diablo Records)2014 The Doppelgangers | Bad, Bad Man | Plutonic Chronic(Diablo Records)2013 The Violent Shifters | Wide Open Baby!! | Worthless Seed(Self Release)2014 Graveyard Johnnys | Songs From Better Days | Radar Love(Wolverine Records)2011 Memphis Morticians | Play Primitive Trashman and 13 Other Lovesongs | Full Moon Hop(Kaiser Records)2006 The Charmin Bastards | Play With Fire | Play With Fire(Self Release) Mad Sin | Teachin' The Goodies...And More! | Psyclops Carnival(Anagram Records)2006 The Chills | Something To Die For | Losing My Mind(Western Star)2010 The Epileptic Hillbilly's | Insanity | Gonna Find a Way(Western Star)2012 Damage Done By Worms | Fear Will Freeze You When You Face... | Lost In My Greed(Crazy Love Records)2002 The Hangmen | Original Sins | Autopsy Blues(Crazy Love Records)2001 Henry & The Bleeders | Out Of Luck, Out Of Cash, Out On Bail | Drinkin' Gin(Western Star)2009 Hillbilly Casino | Sucker Punched | Shoe Leather(Self Release)2007 Mojo Nixon And Skid Roper | Bo-Day-Shus!!! | Don't Want No Foo-Foo Haircut On My Head(Enigma Records)1987

Does Your Entire Team Have to Git It?

This installment The Guys learn about flea markets and the Zen of eBay from the internet enigma himself, GitEmSteveDave!  Zac and Eric get side tracked for a bit and debate some porn actress dream casting with GitEm.  Listener questions lead to GitEm’s OWS theory before we get a little insight in to the origin story of the internet sensation dubbed Steve Davidson.  FINALLY GitEm clears the air about the Tell Em Steve-Dave domain name controversy, naming his price!  Here!  Now!  Git IT! THIS is MISINTERVIEW! Also Available on iTunes!