The story starts in 1977, when Carlo Edwards joined rockabilly band The South Rebels, as lead guitarist, alongside sibling Stef on drums. Some time amid 1978, Carlo departed the Rebs and joined Shazam, one of the better rockabilly groups. By late 1978 Carlo departed Shazam and easygoing discussion evoked the data that he was currently working in another gathering “The Blue Cat Trio”, with sibling Stef drumming and a vocalist, Dave Phillips, multiplying on upright bass.
The Blue Cat Trio were building a notoriety and following, gigs were starting to pour in. The trio secured a try out for Jack Good’s resuscitated ‘Goody gumdrops!’ arrangement (for which they recorded a few shows in August 1980) and the band marked to Rockhouse Records of Holland. In any case, on September 19, 1980, Dave Phillips left the gathering, bringing about a trio of drummer, guitarist and ‘visitor’ saxophonist Clive Osborne. With the principal Rockhouse collection officially recorded and a vital limited time gig arranged for October 3, the Blue Cat Trio were in a fix…
Some time in late 1979, the telephone shook at Tony Martin’s office and a voice at the opposite end stated: “Would you say you are Tony Marhtn? It is safe to say that you are recordin’ any bhands? Oi got a bhand!”. Such was the prologue to Clint Bradley, at that point driving Little Tony and The Tennessee Rebels. Clint had been singing with and fronting groups since 1977, when he began with The Chevys, at that point there was Warpath and in 1978, Rockabilly Fever, which developed into Little Tony and The Tennessee Rebels. In the wake of chatting with whatever remains of the band – Bruce ‘Hoard’ Hobbs, lead guitar, Mitch Caws, electric and upright bass and Danny Kelly, drums – and talking about chronicle, they set up for the Frog studio on January 13, 1980. In a brief time, the young men set out a prodigous number of tracks, for the most part in one take, reasonably equitably split amongst rock’n’roll and rockabilly, electric bass and slap bass. More than a couple of the melodies were Bradley firsts.
In the interim, the Blue Cat Trio were as yet short a vocalist and bass player. Carlo offered his vocal gifts, however they were as yet stuck for a slap-bass man. Also, that is the place Tony Martin associated Mitch and Clint with The Blue Cat Trio. On September 28, 1980, Carlo, Stef, Mitch and Clint got together for a receiving area practice, commencing with “Slap That Bass”, before the finish of which they knew they’d broken it. Inside days, every one of the five (how about we not overlook Clive) were en route to Holland, where it was chosen that the Trio tag ought to be dropped, so was conceived The Blue Cats.
Dates and gigs started pouring in, at that point around three weeks previously the gatherings’ first Finnish visit in 1981, Clive left to join The Dynamite Band. 1981 was an exceptionally bustling year for the Blue Cats, recording the second collection and gig-wise, cresting with an Italian visit, amid which they made no under twelve TV appearances. Work was all the while coming in, yet everybody came to understand that the Blue Cats, as a band, were not as much as upbeat. One reason set forward was the absence of acknowledgment by groups of onlookers of material that didn’t fit extremely limit rockabilly limits and any performer worth calling such will reveal to you that he needs to extend, push and examination somewhat, live and in the studio. By June, 1982, lack of care had a firm hold, the Blue Cats had practically completed with live dates and to all expectations and purposes, they disbanded.
Carlo, Stef, Mitch Clint still mingle and blow together and there’s the danger of them functioning as a unit and recording, however it won’t be as a rockabilly band. If at any time a band complimented to hoodwink, it probably been the Blue Cats. Seemingly the best ever British rockabilly band, with great press, TV, a best organization bargain, standard work at home and abroad … where did they turn out badly?