Information

  • this is our debut album, it consists of recordings made in luxembourg.
  • all songs have been recorded 'live' in the studio. that means, we didn't play our parts seperately and then mixed it, as is usual nowadays, but we recorded all together, just like in the good ol' 50's and mixed that.
    all arrangements have been made using henri's demos and are the result of improvised creativity.
    rock & roll is a raw diamond, not a polished one!

 

EARCATCHIN'

while listening, just have a look at the session files below.

 

if the player shouldn't start, just reload the webpage or re-open it.

 

 

in the jukebox below you'll hear shortened versions of the tracks on the album. for every song you'll hear snippets from the first part, middle part and final part of each song. the versions are mainly 1,5 minutes, some 2 minutes and a few 1 minute.

 

 


Music Player web

 

session files

  • Amateur songwriter Rockin’ Henri’s approach of writing and recording rock & roll is almost unique nowadays. But why? Let me tell ya. What I do, is this. I’m not able to read music notes, so what I’m able to do on guitar is only what I teached myself. So I’m an autodidact (self-taught guitar player). I just play my songs on my guitar (mainly my Gretsch Brian Setzer Hot Rod G6120) and write down the lyrics to it. Then a few times a year, if I have the money for it, I go into the studio (Lightning Recorders, Berlin (Germany) for vintage sessions and Studio D, Folschette (Luxembourg) for revival/retro sessions).

    I’ve never rehearsed the songs, I like to record in the studio, with any band before!

    With the band in the studio then, with sideproject names The Earcatcherz (formerly Letzebillies) in Folschette and The Rock-A-Tones in Berlin, I work out the arrangements from my precent and demos. So the songs on this album are all improvised recordings. Then we’re gonna record the songs together, which is called ‘live’ studio recording (not with overdubbing (= recording seperately and adding afterwards) as is usual nowadays). This way you get a more lively recording. Almost no digital cut and paste work has been done by the sound engineer, no studiotricks have been used to enhance the songs or vocals (no pitch correction/autotune)(only some reverb and echo has been added, which is common in vintage (styled) rock & roll) and almost no overdubs have been used (only on three occasions with re-recording my voice).

    So this is pure honest rock & roll as it should be! What you hear is what we literally played and sang! This is the way 50’s rockabillies recorded. Rock & roll is like a raw diamond, not a polished one (please keep in mind)! But commercial standards, by which our ears are getting pampered, make that even rockabillybands or vintage styled rock & roll bands in general are making polished recordings nowadays. To me that’s artificial rock & roll. Where’s that cool ‘dirty’ rock & roll sound from the beginnings? Where has remained the recognition of our vintage rock & roll? At least in this album you’ll find it, buddies.

 

  • Used equipment:
    Sergej’s Fender Telecaster on: Trendy People May Come, Trendy People May Go/ I’m A Hook/ Take Your Troubles To Me Baby/ I’ve Lost My Baby To A Big ‘Pink’ Girl.

    Henri’s Fender Jazzmaster on: Have A Little Bit Respect/ Walking Down The Street Of Loneliness.

    Henri’s Gretsch Brian Setzer Hot Rod G6120 on: Even Before I Tried The Answer Was No/ Rockin’ At The Classic Car And Rockabilly Festival/ If A Rose Is Knocking On Your Door/ Mama, Why Did You Had To Go?/ I(’ve) Got A Girl Named Gretsch/ Friends And Enemies/ I’m A Man, I’m A Poser/ The Girl In The Black Stockings/ We’re Different, So What!/ Too Old To Race, Too Young To Stroll/ Smell That Big Apple/ I'll Be One Step Short Of Everything I Do.

    Sergej’s Fender DeVille guitar amplifier, Yves’ Sonor drums, Yves’ Project B3 microphone, Aleks’ nameless standup bass, Henri’s Danelectro DTE-1 reel tape echo simulator, Henri’s Danelectro DSR-1 ‘Spring King’ spring reverb unit, Henri’s superb Boss Fender ’59 Bassman FBM-1 (Fender Bassman guitar amplifier simulator, only used at 2011 session).
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  • Contributions to the album project (for their websites, go to the links section please):
    * Brad Blackwood: mastering (top notch mastering engineer (worked for greats like Pinetop Perkins (Sun Records), Otis Rush, Walter Trout, Willy DeVille, ZZ Top a.o.)), Memphis USA,
    * Jody Gannon: frontcover design (top notch animation professional in Europe and Asia, also worked for the legendary Walt Disney Studios), Ireland/Germany,
    * Johnny Giarrizzo: logo, backcover and inside booklet design (rising star designer), Germany,
  • * Mark Elbers: Rockin' Henri's vocal coach (Elvis singer (no impersonator!), very close friend to Ray Walker (Elvis' Jordanaires) and will sing in a Hollywood movie in 2012), Netherlands,
    * Wild Bob Burgos: liner notes (famous drummer for Matchbox, Shotgun, Rapiers, CSA etc.), UK,
    * Henriëtte Bornemann: liner notes (singer for The Bee Bee Sisters 1955-1957), USA,
    * Anders Axelsson: liner notes (booking agent), Sweden,
    * Henk Hermanns: Rockin' Henri's promotion photo (multi award winning photographer), Netherlands,
    * Yves Ditsch (drummer for blueslegend Carl Wyatt's Voodoo Kings and rockabillyband Smooth & The Bully Boys (opening act for Brian Setzer)), Serge Gamza (guitar) and Alex Skull (double bass).


Optionally available with backcover in braille for our blind friends.

One thing I still would like to share with you. I know copying is very trendy and cheap. It might be advantageous to your wallet, but it’s a moral loss, it’s unfair. Don’t steal from the one who’s sweeten your life(style) with his music! I don’t steal from you, so please don’t steal from me. The album takes some several thousands of US dollars or Euros <recording in a studio takes a lot of money, because of the top notch equiment used renting a studio is expensive, then mastering (finetuning the recordings so that they can be released) is very cost consuming (it's work by a highly educated specialist), furthermore design/artwork cost a lot per hour, finally the manufacturing and the distribution costs are high>. That’s the amount of money you’re actually stealing! There's no excuse, nor morally nor legally. Be a cool cat, dare to be ‘square’! Then I like to be your rock & roll buddy, Rockin’ Henri.