09-13-2024 - Must take an unexpected break from recording to deal with health issues. - Tommy

Tommy Hill & The D-Team song downloads  are free - but each song has a 100 download maximum. 

Videos available at https://www.youtube.com/@tommyhill3405/videos

Dizzy Davidson Musician , songwriter , Vocalist, Guitar , double bass , drums , music producer , diploma of music JmC Academy 2016, APRA SONGWRITING MEMBER Since 1996.Artist from Melbourne Australia. 
D-DIVISION RECORDS - Woodstock Melbourne Owner/Producer/Songwriter/Musician  
Songwriter / Frontman Dizzy Davidson on vocals and lead guitar most noted bands in the rockabilly’s scene (the Dizzies, The Strays, Rock'A'Dees ,Runaway Boys)  Dizzy also a gun for hire for two Australian tours as lead guitarist for Glen Matlock band (sex pistols) and Slim Jim Phantom trio. (Stray Cats). Dizzy’s music career at age 13 Started as a drummer in the blue moon boys with oldest brother Rick Hudson also drumming a few gigs and fill spots in the living end / runaway boys 92-94. Double bass was next on the agenda and pretty soon his two younger siblings had grown up around it filling the roles of Dee on guitar and Kid on drums and finally becoming the Runaway Boys mach 2 from 2000-2007 with a string of live shows n tours , an EP and single Fallen Down on JJJ ! Life was the best in the Runaway days! We played it hard! Till the death even !!! Dees death in 2007 when the evolution of Dizzy Davidson becomes a love for the gretsch guitar. A short stint on drums again with @Ignition 
Then forming and fronting neo rockabilly rebels THE ROCKADEES and the filling of an empty void of the loss of his brother. Some years later an attempt to have a Runaway esk type group arose and THE STRAYS was born along side dizzy his brother kid . After years of the on and off the circus ring they boys called it a day and gave a chance to two original project concept bands with a full LP album written and self produced by the brother DIZZY n KID 
The bands were THE DIZZY KIDS - 21 
And HOT MESS LP .  Both projects were left with sour taste and pulled from iTunes the brothers went their seperate ways. Kid to the USA n Dizzy lived in London for two years and toured n gigged with Matlock even playing at a bucket list gig in Liverpool at the Cavern. Covid came and Home to Australia if was ! Two years in solitude in the old family home changed life but the music was never in danger.  The story continues with a dedication to our music and my time on earth thru my eyes until the music is over and the lights turn down. Follow me at @rockadees @thestrays  @thedizzies @D-Divisionrecords @EzraLee @kingpinkuztums @slimjimphantom 

#DeeHudson #bluemoonboys #runawayboys #ignition #rockadees #rumblinwolf #thestrays #thedizzykids #wolfkatz

While the world’s attention was fixated on the New York and London punk scenes, X was coming together in Los Angeles. The band – singer/bassist John Doe, singer Exene Cervenka, guitarist Billy Zoom, and drummer D.J. Bonebrake – would become an explosive live act, masterful songwriters, outspoken populists, cultural iconoclasts, and hugely influential country-punk pioneers. In a fitting twist, X was discovered by another seminal Elektra artist, Ray Manzarek of the Doors, who produced the band’s landmark 1980 Slash Records debut, Los Angeles. The album drew copious critical acclaim, but nothing quite on the level as the hosannas strewn at X’s second album, Wild Gift, which was declared the best record of 1981 by Rolling Stone, The Village Voice, The New York Times, and The Los Angeles Times.
X signed with Elektra and in 1982, unleashed yet another masterpiece with Under The Big Black Sun, which saw the band beginning to incorporate elements of American roots music into their breakneck rockabilly punk rock. 1983’s More Fun In The New World – produced, like its predecessors, by Manzarek – bore a slightly more polished sound, as well as a Modern Rock radio hit in a high-velocity cover of Jerry Lee Lewis’ “Breathless,” while standing out as a defining protest album of the Reagan era.

The band’s passion for hillbilly, folk, and country led to the formation of The Knitters, an acoustic side-project also featuring their longtime friend, Dave Alvin of The Blasters. X then parted ways with Manzarek to collaborate with Mötley Crüe/Dokken producer Michael Wagener on 1985’s Ain’t Love Grand! The album would be Zoom’s last with X, who then recruited Alvin for a fruitful but short-lived union that yielded 1987’s very fine See How We Are, the first X album to fully embrace a more traditional roots-rock approach.

Alvin amicably parted ways with X during the recording of See How We Are, and was replaced by ex-Lone Justice guitarist Tony Gilkyson, who appears on 1988’s blazing Live At The Whisky a Go-Go On The Fabulous Sunset Strip. The latter would be X’s last with Elektra, with the members pursuing solo careers – including Doe’s successful vocation as in-demand character actor – during what would become a series of long hibernations between new X projects.

Founded in 2002 in Lund in the south of Sweden. The last years have seen HepTown Records grow into being one of the leading underground labels of Scandinavia!

We been releasing records in style of rockabilly, punkrock, americana, country, psychobilly, garage, new wave, surf, ska, jazz, lounge, celtic and other musci styles that we like.

Billy and The Kids is a rockabilly Trio from Stallarholmen outside of Stockholm, Sweden.
The band has existed since year 2000. It was originally formed just for fun, because lead singer/ lead guitarist Stefan Billy toured at the time with another rockabilly trio named Wreckless, and he wanted to book gigs when Wreckless wasn’t touring. After a while, Billy and The Kids began getting gigs all over Sweden. They are still constantly on tour and also have played many gigs in Finland and Norway. Billy and The Kids have made 4 CD’s so far: Old Dogs Can't Sit (2007), Love Rocket (2011), I Want You (2013), og Dial My Number (2015). The last three albums were recorded and produced at Riff Hard Studios in Sweden.
The music and influences are both Old School and New School Rockabilly, rock’n’roll and rhythm’n’blues. Half of the repertoire are self composed songs. The music is inspired by Johnny Burnette, early Elvis, Gene Vincent, Eddie Cochran, Ral Donner, Darrel Higham, Brian Setzer, Big Sandy, Lemmy Kilmister, brown liquor and cigarettes without filter!
Stefan Billy Nilsson: Lead guitar and lead vocals
Walter Bjurenvall: Drums and backup vocals
Roger Rennerhag: Upright Bass and backup vocals


duende – [duen-de] (noun) 1. a quality of inspiration and passion 2. A heightened sense of emotion, expression and authenticity 3. a spirit
Duende, the title of The Band of Heathens’ fifth studio album (and eighth overall), marks their tenth anniversary as a group, and it certainly applies to its overall theme about the collective search for connection and communion in a technology-fueled world increasingly splintered, distracted and lonely.  As band co-founder Ed Jurdi, who first learned of the term, explains, “It’s the essence of the artist,” or as partner Gordy Quist says, “It’s a word we don’t have an equivalent for in English, Artistically, that’s where we tried to set the bar, to do what this band does best.”

Indeed, Duende lives up to those high ideals, a stylistically diverse effort that takes a leap beyond their last, more acoustic, introspective effort, 2013’s Sunday Morning Record, with an eclectic batch of material that shows where The Band of Heathens has been, but more importantly, where they are going. 
There are high-energy rockers like the Keith Richards-Chuck Berry guitars and barrelhouse piano in “Trouble Came Early” as well as the Grateful Dead-by-way-of J.J. Cale Oklahoma boogie in “Keys to the Kingdom,” and the New Riders pedal steel country twang of “Green Grass of California,” an ode to the more potent strains of sensimilla on the dispensary shelf and a fervent plea to “legalize it.”
  
Duende also touches on some of The Band of Heathens’ favorite topics, from the sacrifices of a life lived on the road (“All I’m Asking”) to the limits of materialism (“Keys to the Kingdom”), social media absorption (“Cracking the Code”), and a moving depiction of Mexican immigration in an age of increased discrimination (“Road Dust Wheels”). 

Engineer/co-producer Jim Vollentine (Spoon, White Rabbits, …And You’ll Know Us by the Trail of Dead) helped the album’s diversity sound coherent, adding unique touches such as mellotron and drum machines to the loping rockabilly of tracks like “All I’m Asking.”
The term “Americana” was practically invented to describe The Band of Heathens’ approach, which has mutated almost as much as the genre to which they’re identified.  And while the Rolling Stones and The Beatles remain touchstones on songs like “Sugar Queen” and “Deep Is Love,” respectively, influences as diverse as Sly and the Family Stone (in the psychedelic fuzz-tones of “Daddy Long Legs”) and Latin music (“Road Dust Wheels”) also rear their heads.  Literary inspirations also come into play, ranging from a character in Sylvia Plath’s The Bell Jar depicted in as a strutting cougar in “Sugar Queen” (“She even talks dirty/When she’s on her knees to pray”) to Tom Standage’s A History of the World in Six Glasses, which recounts how beer, wine, spirits, coffee, tea and Coca-Cola have shaped culture and civilization to modern times (“Trouble Came Early”). 
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For more information and updates on the upcoming release, please visit www.bandofheathens.com, www.facebook.com/thebandofheathens, www.twitter.com/bandofheathens, and www.youtube.com/user/bandofheathens.

Trois gaillards expérimentés forment ce trio et revisitent de façon musclée le répertoire des pionniers du rock et du rockabilly (Gene Vincent, Eddie Cochran, Bill Haley, Elvis Presley, Jerry Lee Lewis,  Stray Cats et bien d’autres... 
 
Ces trois musiciens :  Pat (guitare-chant), Dan (bass-chant) et Franck (drums) ont acquis au sein de diverses formations régionales une solide expérience de la scène et produisent avec un plaisir et une énergie débordante une musique festive et professionnelle qui ravira les plus exigeants 
 
Nostalgiques et amoureux de ces  années-là, endossez vos perfectos, astiquez vos shoes et surtout affûtez vos bananes, vous êtes prêts pour le grand saut en arrière.


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