The sixth release by the Texas band led by by singer-guitarist-accordionist and former LeRoi Brother Don Leady. Slamming instrumental tracks and their unique roots-rock-meets-Tex-Mex-twang vocal tunes.
The Tail Gators:Don Leady (vocals, accordion, Farfisa organ); Gary "Mudcat" Smith (vocals, drums); J.J. Barrera (bass, bajo quinto, background vocals).
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1. Swamp's Up 2. Feel Like I'm Fallin' 3. Dust Devil 4. Psychotic Reaction 5. Malo Bueno 6. Columbia Rocks 7. Ramrod 8. Voodoo Doll 9. Ride Of The Ruthless 10. Look Up 11. Blue Northern 12. Bare Footin' 13. Stampede
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"...and MUSIC MAESTRO is the perfect way to end this album: first it’s like a 50’s movie and a lonely weary hunk dreaming of lost loves is surrounded by giggling girls and he asks the waiter for a drink w/ chaser “to chase the blues away”, then suddenly it’s like it’s just him and his piano and he’s nursing his broken heart in the bar night after night, but still so elegant and suave and undaunted and so contemporary and continental, like how Tom Waits would sound like if he’s a lot more handsome…
Tav Falco's Panther Burns:
...A 3-piece band from Austin, Billy Gibbons of ZZ-Top once called them his favorite band. Don Leady, singer and guitar player, was an original member of the Leroi Brothers (another legendary Austin band, still playing and making records). He later started the Tailgators with Keith Ferguson (original bass player of the Fabulous Thunderbirds) and Gary "Mudcat" Smith (who played a big drumset and wore gloves when he played). I've seen them a few times at clubs in Norman and OKC, they used to come up here alot. They are a band to catch live, hopefully in a club with a dance floor. They have put out a bunch of records, which are all cool. I think the 2 on Restless are out of print. Leady also plays accordian and fiddle. Ferguson passed away a few years ago. There have been a couple of different drummers since Smith left. They may be working on a new record. In the past few years Leady has been experimenting with various types of music, for which he has formed several different bands. One of his new bands is Alamo Suite, in which he explores western swing jazz guitar. I saw the Alamo Suite band at VZD's in OKC in February 1999. Not too many people bothered to show up, even though the Gazette gave them a special write-up, but it was an awesome show. The Tailgators are an American treasure, sadly overlooked. If you want to see them you will probably have to go to Austin. - from: http://www.ionet.net/~tslade/tailgatr.htm
If Bear Family Records is the gold standard for reissues of music from the original rockabilly era, then Buffalo Bop occupies the second tier, and Collector Records the third. Collector masters indie and vanity label recordings from vinyl for the benefit of insatiable fans of rockabilly and early rock & roll. One unique thing about Collector's compilations, though, is that they often present both sides of singles, which might satisfy some people's curiosity as to what's on the flip of, say, Richie Deran's "Girl and a Hot Rod," which has been anthologized many more times than its reverse, "Little Willie." Rockin' and Boppin' features the A- and B-sides of about a half-dozen singles, as well as several mid-'60s country recordings by Lyle Collins. The compilation is all over the place in terms of style, from straight country to hot rod rock to teen ballads. (The Carl Smith who leads the compilation is not the country star of the same name.) ~ Greg Adams, Allmusic
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The Outta Place "We're Outta Place" Midnight 103 was the first record to ever come out of the N.Y.C. garage psych punk scene. It preceded the Vipers and Fuzztones singles by nine months, and created quite a stir from those more mature garage bands who could not understand why the "cave teens" had been elected and selected first. The answer to those questions came soon with world-wide acclaim. The mini-LP immediately hit number 1 in the alternate charts in Italy, France, and Holland, and received rave reviews in the U.K., U.S. and Canada. Chandler's vocals and the Outta Place's straight fresh delivery will probably never be equaled or surpassed. (Midnight Records.com)
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One of hundreds of outstanding bands that Stache's / No Other booked in the late '80s and early '90s. Enjoy this one!
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No decorrer desses 17 anos se apresentaram em várias cidades do estado do Paraná, São Paulo e Minas e nos festivais National Garage, Demo Sul, Festival PIB ,Campeonato Mineiro de Surf e o FML. Com a saída de Duda Victor em 2005, a banda inseriu os guitarristas Beto Carvalho e Roger. A participação de duas coletâneas no ano de 2013 pela Sonata Magazine e pela Reverb Brasil, tem atestado a qualidade do surf rock Londrinense no Brasil e na América Latina. - fraom: http://orockdelondrina.blogspot.com
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Opening with the self-referential "The Side I'll Never Show," and produced by Neil Young and Crazy Horse vet Elliot Mazer, Wynn and Co. mine the dark and rusty terrain of folk and blues-rock that they ultimately made work to their advantage on this very straight-ahead rock album. Wynn's vocal style and forthright lyrics never really connected with the masses at the time, but years later, it's clear he was making music for the ages. ~ Denise Sullivan, All Music Guide
The Dream Syndicate:
No decorrer desses 17 anos se apresentaram em várias cidades do estado do Paraná, São Paulo e Minas e nos festivais National Garage, Demo Sul, Festival PIB ,Campeonato Mineiro de Surf e o FML. Com a saída de Duda Victor em 2005, a banda inseriu os guitarristas Beto Carvalho e Roger. A participação de duas coletâneas no ano de 2013 pela Sonata Magazine e pela Reverb Brasil, tem atestado a qualidade do surf rock Londrinense no Brasil e na América Latina. - fraom: http://orockdelondrina.blogspot.com
I had seen Don play several times and really liked his approach to guitar. Soon after I moved to Austin Don asked me to record them. He wanted to do a recording very quickly, for budget reasons and to keep their live energy that they were so famous for. This band played a lot in the US and Europe. Probably close to 2000 shows a year. The bass player was Keith Ferguson who was one of the coolest cats in Austin. He had played for the T-Birds for years. Gary Smith was the drummer and he was very very good at this Rocking, cajun style of music. We did the Mumbo Jumbo record in 4 days at Arlyn Studio in Austin for Wrestler Records and Dusty Wakeman remixed it at Mad Dog in LA. Dusty is a really cool guy who has produced, engineered and played bass on some very great recordings (Lucinda Williams, Dwight Yoakum and Jim Lauderdale). One great story I remember about the Mumbo Jumbo sessions is when Keith Ferguson got so tangled up in his headphone and guitar cables that he frustratedly untangled himseself, getting madder and madder, and left the studio in a huff and did not return for 2 days. luckily we had finished most of the basic tracks so we could work on overdubs while he was disappeared.
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Hot Rod Rumble features a lot of the sound described in its title -- indeed, half the songs here open or close with the sound effect. This is a genre collection from Buffalo Bop: 30 songs (plus one sound-effects track, "A Ride in a Corvette") dating from the late 1950s into the early 1960s, built around fast cars, the girls who like them, and the guys who like the girls who like them. It's rather telling that most of the best cuts here are instrumentals, plus a handful of recognizable ringers like Sleepy LaBeef. The Esquires' instrumental "Flashin' Red," released on the Durco label, pretty well blows every one of the cuts preceding it (and most of what follows) off the chart -- a loud, searing, heavy, fast-paced musical recreation of a drag race that's hard to beat. The Sandells' "Scrambler" came closer to brushing with greatness and the charts than more of the others here; they recorded for World Pacific, an actual near-major label (now owned by Capitol/EMI), with top West Coast studio facilities and a budget to access them -- with the Esquires, they're the highlight of this collection. Bob Cass' "Corvette Baby" is noteworthy just for its "auto-eroticism," describing a woman in delightful and admiring mechanical terms. It gets beat for humor, however, by Gene Savage's "Big Machine," which describes the singer's efforts to make an M-60 tank into a hot rod. Johnny Fortune is another of the handful of national-class professionals represented; his "Dragster" outclasses most of the competition with its instrumental prowess, sound effects and audio recreation of the title subject -- it seems a good deal shorter than its two-and-a-half minute running time. Sleepy LaBeef's raunchy cover of Bo Diddley's "Ride on Josephine" is one of those other numbers that blows aside the surrounding cuts. (Bruce Eder, Allmusic)
No decorrer desses 17 anos se apresentaram em várias cidades do estado do Paraná, São Paulo e Minas e nos festivais National Garage, Demo Sul, Festival PIB ,Campeonato Mineiro de Surf e o FML. Com a saída de Duda Victor em 2005, a banda inseriu os guitarristas Beto Carvalho e Roger. A participação de duas coletâneas no ano de 2013 pela Sonata Magazine e pela Reverb Brasil, tem atestado a qualidade do surf rock Londrinense no Brasil e na América Latina. - fraom: http://orockdelondrina.blogspot.com
Don Leady, from Missippi, is and was the main cat in the Tailgators. He is a guitar wizard and like his sound rough and ugly. I had seen Don play several times and really liked his approach to guitar. Soon after I moved to Austin Don asked me to record them. He wanted to do a recording very quickly, for budget reasons and to keep their live energy that they were so famous for. This band played a lot in the US and Europe. Probably close to 2000 shows a year. The bass player was Keith Ferguson who was one of the coolest cats in Austin. He had played for the T-Birds for years. Gary Smith was the drummer and he was very very good at this Rocking, cajun style of music. We did the Mumbo Jumbo record in 4 days at Arlyn Studio in Austin for Wrestler Records and Dusty Wakeman remixed it at Mad Dog in LA. Dusty is a really cool guy who has produced, engineered and played bass on some very great recordings (Lucinda Williams, Dwight Yoakum and Jim Lauderdale). One great story I remember about the Mumbo Jumbo sessions is when Keith Ferguson got so tangled up in his headphone and guitar cables that he frustratedly untangled himseself, getting madder and madder, and left the studio in a huff and did not return for 2 days. luckily we had finished most of the basic tracks so we could work on overdubs while he was diasppeared. The 2nd recording 2 years later was called "OK Let's Go" and we recorded and mixed this in 7 days, also at Arlyn. We did this recording for RESTLESS Records, which is how I met Ron Goudie when he was doing A&R for them. Ron is a producer and now lives in Amsterdam too, small world. A great story about Keith Ferguson on the "Ok Let's Go" sessions was when he broke a string on his bass, which he hardly ever did. He liked the strings on his bass when they were at least 2 years old and searched hard around town with other bass players to find a used string of the same gauge and type to replace the broken one. I am a bass player and learned a lot from watching Keith and listening to him play. I have tried to use old strings ever since then and usually hate the sound of new strings. Keith was one of the best bass players ever, to get the groove going and roll his sound in and around under the rest of the band, sometimes hard to distinguish his notes, but always undeniably on the groove, driving the band along, walking his bass from section to section and never fighting with the drum groove. These recordings were the first where Don Leady experimented with played instruments other than his telecaster, playing fiddle and lap steel guitar. Don has kept the Tailgators on the road all these years. Keith Ferguson died of heart failure in the early nineties and it was a sad time in Austin. many people respected and loved Keith. - TEXASMIKE.COM
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Because rock and roll was still in its swaddling clothes in 1955 (and suddenly profitable, thanks to Elvis and a few others), just about every song here repeats the word "rock" as often as is humanly possible. Which is fine, charming even. And while normally a scope as narrow as Texas rockabilly during one particular year would be so limiting as to be problematic, Texas is so damn big and 1955 was such a productive year, everything works out all right. So what we have here is rockabilly in varying degrees of wildness and sophistication recorded by labels with varying financial resources and artistic integrity. It's rockabilly (or "cat music" as it was apparently known in Eastern Texas), but in this nascent form it's possible to hear the various influences (swing, country, r&b, blues, even doo wop). A lot of these guys must have had a big stack of Joe Turner 78s at home. Most heavily represented are Johnny Carroll and Sonny Fisher with seven cuts apiece, and not far behind is Bob Luman with five. Other treats include a pair from Sid King & The Five Strings (Sag, Drag & Fall, Purr, Kitty, Purr), two by the shaky-voiced Jimmy Heap (Sebbin' Come Elebbin', Go Ahead On), What'll I Do by Mac Curtis, and the classic A Real Cool Cat by Sonny Burns, which, although no doubt heresy to say so, sounds more like country than rockabilly, the cool vocabulary notwithstanding. Six pages of informative booklet notes by Dave Penny. Sound quality is generally quite good, especially considering that some (but not all) of the source material is vinyl. (JC, Roots & Rhythm) 
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…No decorrer desses 17 anos se apresentaram em várias cidades do estado do Paraná, São Paulo e Minas e nos festivais National Garage, Demo Sul, Festival PIB ,Campeonato Mineiro de Surf e o FML. Com a saída de Duda Victor em 2005, a banda inseriu os guitarristas Beto Carvalho e Roger. A participação de duas coletâneas no ano de 2013 pela Sonata Magazine e pela Reverb Brasil, tem atestado a qualidade do surf rock Londrinense no Brasil e na América Latina. - from: http://orockdelondrina.blogspot.com
Swamp rock and gumbo variations abound in these grooves from this Austin trio. Great sounding guitars and toss in an accordian and we have ourselves a party brewing. Produced by Steve Berlin this outfit rips it up on a great batch of tunes. The cover B&W photo captures the essence of this record. Close your eyes and you can almost smell the mingling smoke of Texas BBQ and a large pot of gumbo and dirty rice. Toss this platter on the record player and grab yourself a brew or two.
The Tail Gators:
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Don Leady the leader of the band is the singer, songwriter, guitarist, accordianist and producer with a vision. He puts together an audio gumbo of Gulf Coast styles blended with rock seasonings. A native of Cool Valley, Missouri, Don Leady continues to experiment with the guitar to find new techniques and sounds. It certainly doesn't stop with the guitar, he's gone into fiddle, steel guitar, and most recently the accordian. His education came from masters of the art, Chet Atkins, Les Paul and later BB King, because their music was readily available. He heard the Ventures and Duane Eddy a bit further down the line and loved their style. "Have Guitar, Will Travel" by Duane Eddy freaked him out totally, it was amazing. He caught Joe Maphis and the Collins Kids on the TV show, Ranch Party, and Joe Maphis made a huge impression on him. Joe Maphis became one of Don Leady's idols. Hearing Joe Maphis play the boogie woogie guitar and thinking to himself that the guy was picking the guitar ten times faster than Duane Eddy, Don Leady was star-struck. The Tailgators began in 1984 and continued into 2000, with a charismatic style of music that is very contagious. Don Leady, Jean-Jacques (JJ) Barrera and Chico Oropeza, are the Tailgators that are cookin' up the tunes on their 1996 release, It's A Hog Groove. Billy Gibbons, of ZZ Top, calls the trio from Austin Texas his favorite American band. The trio is one that should not be missed at a live venue, if there are any tickets left, they generally sell out fast. Some of the other names the Tailgators have been rumored to use in and around the Austin scene are, Zydeco Loco and Gators Del Norte. Whatever name they use, the end product is the same, It's A Hog Groove. - Larry Belanger, All Music Guide
Tail Gators:
...This compilation attempts to highlight some of those influences and includes many of the original versions of songs later adapted by barnstorming rockers such as Elvis Presley, Carl Perkins, Jerry Lee Lewis and Wanda Jackson. Early recordings by Country legends such as Hank Williams, Jimmy Revard, Bob Wills and the Delmore Brothers, and by Blues exponents Arthur Gunter, Big Mama Thornton and Piano Red, indicate that the roots and branches of Rockabilly grew in many directions and stretch back further than one might think. Also featured are lesser-heard names such as Jimmy Selph, Gene Henslee and Mack Davis whose recordings showcase Rockabilly at its downhome best.
The master of a raw and shambolic fusion of rockabilly, blues, and fractured noise, Tav Falco was, along with the Cramps, one of the earliest purveyors of what would come to be known as psychobilly (though his version of the sound lacked the campy horror movie ambience others brought to it), and he anticipated the fractured but hard-hitting blueswailing of the Gories and the Jon Spencer Blues Explosion by close to a decade. Born in Arkansas, Falco moved to Memphis, TN, in 1973 and introduced himself to the city's creative community as a filmmaker and performance artist while supporting himself with a variety of odd jobs. While making documentary films on blues artists in Tennessee and Mississippi (including a piece on R.L. Burnside shot at his legendary juke joint in 1974), Falco was inspired to pick up the guitar, though his first on-stage performance with the instrument involved him destroying a six-string with a chainsaw.
Panther Burns:
…Aanvankelijk is Tuxedo Buck een rockabilly bandje die op de boulevards van Cannes op straat speelt of een optreden doet in locale cafés. Hun debuut-album "Wild 'n' Crazy Love Things komt uit in 1991. Verantwoordelijk voor de high-energy sound is de Amerikaanse producer Evan Johns, op dat moment een moderne rock-'n-roll held. OOR omschrijft die sound als: "Johnny Cash die bij de Ramones is gaan spelen." Hoewel de band min of meer een rockabilly imago heeft en behoudt, zijn er toch ook zeer duidelijk punkrock-invloeden te horen in hun muziek. De scheurende mondharmonica van Ger de Vries maakt de sound nog eigenzinniger. Vele optredens volgen (naar schatting 1200) in Nederland, Belgie, Frankrijk, Duitsland en de VS. Na het debuut-album werden nog 3 CD's opgenomen voor Munich Records. Stichting Popmuziek Nederland sponsort in 1994 de Amerikaanse tour met tickets. De band houdt officieel op te bestaan in 1998 maar na die datum treedt de band nog diverse keren op. - from http://www.muziekencyclopedie.nl/
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...Aanvankelijk is Tuxedo Buck een rockabilly bandje die op de boulevards van Cannes op straat speelt of een optreden doet in locale cafés. Hun debuut-album "Wild 'n' Crazy Love Things komt uit in 1991. Verantwoordelijk voor de high-energy sound is de Amerikaanse producer Evan Johns, op dat moment een moderne rock-'n-roll held. OOR omschrijft die sound als: "Johnny Cash die bij de Ramones is gaan spelen." Hoewel de band min of meer een rockabilly imago heeft en behoudt, zijn er toch ook zeer duidelijk punkrock-invloeden te horen in hun muziek. De scheurende mondharmonica van Ger de Vries maakt de sound nog eigenzinniger. Vele optredens volgen (naar schatting 1200) in Nederland, Belgie, Frankrijk, Duitsland en de VS. Na het debuut-album werden nog 3 CD's opgenomen voor Munich Records. Stichting Popmuziek Nederland sponsort in 1994 de Amerikaanse tour met tickets. De band houdt officieel op te bestaan in 1998 maar na die datum treedt de band nog diverse keren op. - from http://www.muziekencyclopedie.nl/
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On each of these Buffalo Bop anthologies, there's usually at least one song that should be plucked out and featured on a rockabilly best-of. In this case, there are two: Jimmy Witter's "If You Love My Woman" (evidently co-written by Witter and the rest of his band, which sounds like an outtake from Elvis Presley's first RCA sessions and issued, appropriately enough, on Elvis Records), and "Roll On, Big Mama," by G. Self, which has a sound all of its own. It also oozes lust and shows off a frantic beat. At the other end of the spectrum is the lightweight "Slippery Sal" by Bobby Dadino, whose singing is a little too squeaky-clean to make this more than a novelty number. In between those extremes are a couple dozen semi-precious gems. Tony Casanova's two Dore sides open this 30-song epic, which is uneven but enjoyable. As with a lot of these records, the playing, especially the guitars, are more impressive than the sub-Elvis/Gene Vincent singing. Paul Wheatley's "I'm Not Movin'" moves well enough, but his verses all run two beats too long, which makes his rockabilly efforts just off-kilter enough not to hit. Billy Match isn't much of a singer, based on "I Want My Baby," but his band has a raw, roadhouse-type sound, although they'd be a little more convincing without the backing vocals. Johnny Stark's "Rockin' Billy" has a similar problem: backing vocals that are too classy for its beat. Guido D'Amico's "Jimmy Boy" on Quality had no such contradictions, a number that manages to be smooth and raw, hot and supple, with chiming piano and raunchy guitar coupling the best components of early Elvis and Chuck Berry with Jerry Lee Lewis at once. (Bruce Eder, Allmusic)
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