The idea of this album is simple, and lays in the title, it’s a tribute to the greatest rockabilly label, the one that started it all: Sun records.
One can wonder what the use of recording such a record, especially with tracks like Blue Suede Shoes, Boppin’ the Blues, Just Because and Red Hot. Setzer claims that he made it to introduce these songs to a new generation. Well, this is a noble cause, so let’s give him credit for that, and we know that he didn’t make it for money, NOBODY makes money with rockabilly.
The recording itself is very good. What you have is a very inspired Brian Setzer, and if you want to compare to another all cover album it’s far better than Stray Cats’ Original Cool. His voice is very good and it goes without saying that his guitar play is top notch. Though the fans of his flashy style could be deceived, Setzer serves the songs rather than his own glory. He’s perfectly supported by Mark Winchester on double bass and Bernie Dresel on drums (the best rhythm section Setzer ever worked with) and Kevin McKendree adds a solid pumping piano to the ensemble. Even the Jordanaires join in on a couple of songs. They remain very faithful to the original versions which is both a strenghth and a failing. Sure there's no betrayal, and if you dig the originals you'll like Setzer's but in the end this album lacks of originality (which is often the case with tribute albums). At leats it proves that Rockabilly and Rock'n'roll are the kind of music that Setzer plays the best.
One last thing: I still wonder why this album has been recorded in Nashville instead of Sun studio? The liner notes also surprised me when I read Setzer saying “Isn’t it funny how modern rockabilly rarely incorporates acoustic guitar”. Give me a call Brian, I have some records you really should listen.

Fred "Virgil" Turgis

Well, fine, Brian Setzer is a damn good picker but how I wish I could have loved this album more. This is not bad but it just sounds like a missed opportunity.

Some songs are just quick reworking of classics that Setzer plays for years and really don't bring anything to his glory. Seriously who wants to hear another version of Blue Moon Of Kentucky or be Bop A Lula, even by Brian Setzer? And when he picks his banjo you can expect something new, why not a real bluegrass number with mandolin or dobro or whatever. Instead of that what you have is a clean (in the sense of "sterile") version of Earl's Breakdown a song he plays live since 1983. Cherokee is a bit better but reveals the major flaw of the album: its production. The sound is way too clean, totally disembodied and for the most part evokes the cd one can find with guitar methods. And the lack of interaction between the rhythm section and the solist doesn't help either. Let's quickly forget Go-Go Godzilla that sounds like a self-parody to concentrate on the few good numbers of the albums. "Far Noir East" seems to have been written for the Brian Setzer Orchestra album "Songs From Lonely Avenue" like a cross between Harlem Nocturne and the Stray Cats little known jewel Jade Idol. Intermission is really jazzy, with a strong Charlie Christian feel and a guest vibraphonist and you regret that there aint no more guests on this album to enhance the final result. For example Lonesome Road is really good too, more or less in the Jimmy Bryant style and it's too bad that there is not a guest steel guitar on that tune (or why not, Setzer on both as we all know that he plays steel too). And though enjoyable, the remaining songs seems to have been improvised on the spot around a single riff.
It seems that this is not this time that my dream to hear him do an instrumental album with a small jazz combo will come true.

Fred "Virgil" Turgis

Though his recent studio albums vary in quality, Brian Setzer remains one of the top rockabilly acts when on stage. His latest live album, recorded during a tour that took him, two drummers (including Slim Jim Phantom), tow bassists and a pianist from Europe to Australia with Japan and North America in between is another proof, if needed that he's still the king of modern rockabilly.

The first good surprise comes from the set-list. Setzer has dropped songs like Stray Cat Strut, Gene & Eddie and Rock This Town to make room to rare covers (Great Balls Of Fire, Seven Nights To Rock) or lesser played songs like Cry Baby or 49 Mercury Blues, the latter in a trio version way more powerful than the studio version with the Orchestra. Two songs from his latest release (Instru-Mental) are also included and though I had major reserves about the studio versions, they take all their sense on stage (partially due to the excellent recording work). the other good surprise is simply the performance. You have to go back to Ignition in 2001 to find him in such a good form. The band is tight and Setzer's playing is inspired and creative and what you hear is a band that works together, not a singer/guitarist and a backing band. This is particularly audible on Slow Down/Folsom Prison Blues on which you can hear the pleasure that Setzer has to trade licks with Kevin McKendree on acoustic guitar. An excellent album from start to finish, more than that a lesson of Rock'n'roll.
Rock This Town, Stray Cat Strut, Sexy & 17 and Fishnet Stockings are available in mp3 format.

Fred "Virgil" Turgis