“And there are many, many others. Fans will be disappointed in me for omitting their favorite player here. Modern players such as Brian Setzer, The Reverend Horton Heat, Danny Gatton, Jinx Jones, Darrel Higham, and others deserve mention for keeping the guitar front and center in the modern rockabilly world.” Rockabilly Guitarists Define the Genre, Buster Fayte, Arts and Entertainment: Music; Published: February 9, 2011
Jumpin' From 6 to 6 Rip & Run Review FEB 2011 Home Braend On Parole And Out Of Control - Never Live It Down - Doghouse - How High The Moon - Time To Have A Good Time 1 - Rip and Run - Hot Rod Heartbreaker - No Beer In Heaven - Vibro Exotica - Redneck Barbie - What Makes You Think I'm Lonesome - Prairie Dig Daddy - Time To Have A Good Time 2 - Roma's Song.
"Rip And Run" is the latest (and best) album from California's guitar ace Jinx Jones recorded with Joe Kyle on bass, Jimmy Sage (Lee Rocker band) on drums, Caroline Dahl on piano and David Phillips on steel. It's a solid offering mixing different style of rocking music with elements of blues and country (isn't the definition of Rock'n'roll?). It's led from start to finish by Jones'guitar and his 30 fingers (that's the only way I can explain his dexterity). He mostly plays on Telecaster and Grestch, and maybe a Jazzmaster which is a proof of good taste. It kicks off with "On Parole And Out Of Control" that has a strong Reverend Horton Heat feel in it (think "Big Red Rocket Of Love"). It's also a great showcase of Jones guitar play. The swingin' "Never Live It Down" slows down the pace, I just regret that the piano doesn't take a chorus on this one. "Doghouse" is a fine cowboy ballad with a solid Bakersfield styled guitar solo. If you still doubt of Jones' virtuosity, "How High The Moon" is here to reminds you that this guy plays in the same league than Brian Setzer or Danny Gatton. "Time To Have A Good Time" is a fine neo-rockabilly tune separated in two parts (roughly one for the lyrics and the other one for the solos, like Creedence's Suzy-Q), it also could have been the title of the album. It's instrumental time again with "Rip & Run" that sounds like a cross between Ennio Morricone and the Ventures. "Hot Rod Heartbreaker" is a solid rocker with a Chuck Berry flair. Back to country music with "No Beer In Heaven" (what a title!) a sped up hillbilly number (a bit like Reverend Horton Heat's Balls OF Cocaine to give you an idea). Starting like Sleepwalk, "Vibro Exotica" is an instrumental that slips toward blues in the middle. The mistake would be to reduce Jinx Jones to a guitar player. He is more than an average singer and he can write pretty good songs (he wrote all the numbers of this album but two) with witty lyrics like "Redneck Barbie" an excellent modern rockabilly. I really enjoyed the Honky Tonk sound of "What Makes You Think I'm So Lonesome". The steel and the guitar duet on "Prairie Dog Daddy", a jumpin' instrumental, halfway between Little Charlie Baty and Leon Rhodes and Buddy Emmons. "Roma's song" closes the album with another slice of solid guitar that shows the influence of Roy Buchanan. If you're a guitar geek, a fan of the Reverend Horton Heat, Brian Setzer and Danny Gatton, or if you simply like good music (with plenty of guitar), do yourself a favor and grab a copy of this one. Available here. Fred "Virgil" Turgis
Jinx Jones Interview in Guitar International; January 2011:
Jinx Jones - Man of a Thousand Riffs; D C Larson, Crackerjack (UK) #35 Sept. 2010
"You've heard fretboard prestidigitator Jinx before: he lent studio guitar and bass to En Vogue's hit, "Free Your Mind." Professionally impressive as it is, though, that credit does not represent his own chosen styling. Jinx's headlong endeavors draw freely and unto satiation from classic rocka- billy, vintage jazz, and spartan honky tonk, finishing up as a wondrous and multi-textured mélange of rocketship picking and intriguing jaunts down chordal roads less taken. Listeners all will doubt- less be thunderstruck by his authoritative command of labrythinic note aggregates, lightning-fleet navigations, and esoteric chordal modes. One intuits they are in the twang-upholstered, jazzy Court of a flat-gone Monarch, one for whom fair Aoede is a favored midnight-hour ship. A jaw-slackening talent, fearing no headcutters. Bring 'em on."
Rockabilly Magazine (USA) Fall 2009
Vintage Guitar magazine AUG 2007
Big Beat Article_AUG 2007
Big Beat Ad AUG 2007
Rytmi magazine, (Finalnd) September 2007
Guitar Player Magazine, June 2007
HICKS WITH STICKS NEWS #186, March 29, 2007
Vintage Guitar JUN 2007
Big Beat March 2009
Vintage Guitar, March 2009
From Now Dig This (UK) March 2007
Rockabilly Magazine Dec.2005
From GUITAR PLAYER MAGAZINE, March, 2001 Jinx Jones License to Twang “Rockabilly is alive and well in this latest release from San Francisco’s Jinx Jones. Replete with reverb-drenched Gretsches, thumping upright bass, and Jones’ Setzer-esque vocals, License to Twang captures the swingin’ vibe of rockabilly’s classic years. Jones’ knack for stellar guitar tones and authentic ‘50’s feel is apparent on “Break the Devil’s Heart,” which features throbbing tremolo, rapid-fire pull-offs, and Bigsby bar bending. Likewise, his countrified “Honky Tonk Playgirl” serves up some Bob Wills flavor with its winsome steel guitar (courtesy of David Phillips). License to Twang is both a feast for tone aficionados and a lovely stroll down memory lane—even if you weren’t around in the 1950’s.”
Big Beat Magazine, (FIN) NOV/DEC 2005
Jinx Jones, License To Twang, Red Rogue Records
Once again, I’m proven wrong. I was definitely ready to hate this disc, too. Jones looks like a retro rockabilly artist, but, lo and behold, the guy is a great guitarist, whose style encompasses not only rockabilly, but western swing, honky tonk country and raunchy rock as well. The songs are good, the band is tight, and Jones is a real player who had the good sense not to try and recreate the Sun records sound. Recommended.Red Rogue Records, 1592 Union Street, San Francisco, CA 04123.