Fifth in a series that began with the landmark Shreveport Stomp compilation, Ace continues their outstanding job in going through the vaults of Ram Records with a fine-toothed comb, producing perhaps the most exciting collection yet from the label and studio built, owned and run by gifted guitarist and song writer Mira Lewis. The Ram sound was attractively simple, relying for the most part on Miss Smith’s mastery of atmospherics, an approach that lent itself well to the rockabilly sides spotlighted here. Located in the direct vicinity of the Louisiana Hayride, many of the artists on Shreveport High Steppers were featured on the famous radio show.
The Lonesome Drifter’s “Eager Boy” has long been highly valued by rockabilly collectors and it’s easy to see why: the lyrics are weirdly uncommon as the Drifter sings of an acute awareness of mistreatment due to his perceived naiveté. Yet after all this he proudly states “I believe we can succeed if we only try.” It’s this irresistible masterpiece that kicks things off and before it’s all over we get nine more equally great songs by this mysterious artist who to this day resides in Monroe. His performances are crisp and sparse, the always interesting lyrics revealing him as a stylist second to no one. “Teardrop Valley” has a sentimentally regretful flavor, as does the excellent “I Wished It Wasn’t So” and “This Old World Don’t Seem the Same.”
Linda Brannon and Margaret Lewis, Ram’s two best known female artists, are welcome anywhere, anytime and Linda’s awesome version of Roy Perkins’ “Just Another Lie” seems the utter epitome of the Ram sound. Bluesy ballad, great lyrics, atmosphere and echo dripping from the walls…and a white teenage voice that perfectly interprets the blues with a combination of world-weariness and innocence that cannot be faked. Are there more Linda Brannon tunes in the Ram vaults? If so she deserves her own CD along the lines of Margaret’s excellent Lonesome Bluebird.
With this disc as a calling card, Ram should be ranked with Cosimo’s, Goldband and Jay Miller’s when the definitive history of Louisiana music is written.
