The Hot Shots-Wise Up, Watch Out

In the grand tradition of the Japanese preserving and celebrating aspects of vanished Americana, the Hot Shots formed in 1995.  They were first embraced by the West Coast swing music scene which was still reelin’ in 1997 when the Hot Shots were ascending their first American stages in California.  After a few singles and the departure of co-founder Rockin' Enocky, they returned to the U.S. in late 1998 to record this debut album at Ecco-Fonic Studio in Los Angeles with Deke Dickerson. Released in 1999, “Wise Up, Watch Out” presents a sound that smartly avoids the trampled road of over-the-top rockabilly and ventures out to the rural routes of country-tinged rock ‘n’roll, honky tonk, rhythm & blues along with some Latin flair. The one and only Chie Kodama sets the tone on her acoustic guitar and her vocals makes each song shine brightly, while joyfully expressing her innate love and conviction for this music. “Pretend” co-written by Chie along with bass player Hiroshi Shishikura gets things rolling in a refreshing manner with a slightly bucking rhythm and twangy fills provided by Yuichiro Matsushita. “Tell Me Baby” is an understated lovely ‘50s pop number composed by Chie and capped off by her declarations of “I Wanna Know Right Now/”I Wanna Know Right Now” in sincere Joey Ramone style. Hank Cochran’s “A Little Bitty Tear” is delivered by way of Wanda Jackson with some impressive fretwork replacing the orchestrated strings originally applied by Capitol Records to Jackson’s single. The upbeat “A New Idea On Love” is such an obscure cover that the only background information I could find was that it was probably written by Mickey Baker of the renowned and much sampled ‘50s duo Mickey and Sylvia. Clinching the matter, is detecting a “Love is Strange” guitar quote in proceedings. Furthermore, its intertwined co-ed vocals shoots this one across the starlit Western skies like one of those dashing and delightful Judy & the Loadies songs. The album closes with “Guitar Battle” where Deke Dickerson and Yuichiro Matsushita trade off runs and riffs in classic Merle Travis & Joe Maphis fashion. Deke Dickerson plays a fitting and supporting role as producer, along with providing some backing vocals and accompaniment which brings forth further dimensions to the overall sound and presentation. You couldn’t ask for a better start for a combo that thankfully is still actively performing, recording and releasing records that are each distinctive in their own vintage sounding way, while overall expanding and expressing the vast possibilities of heydays to come.