Some have called Shake It Or Leave It Roy Loney's best album since his 1978 solo debut, Out After Dark. The producers have referred to it as Roy's rock and roll history lesson. Roy has simply stated that it is a tribute to his influences. The combined experience of Roy and the Longshots have created such an organic stew of sounds that the listeners might have a hard time connecting any one song to a particular artist.

Longhots #3, was a part of the arrangement between Roy and Career Records to release Drunkard In The Think Tank. The idea was to start work on the follow up as soon as possible. Roy presented a total of thirty-two songs for consideration, of which, eighteen were recorded over the course of two sessions in Seattle. A long list of potential covers was drawn up, but it was decided this would be an album of originals.

The sping and fall 2005 sessions took place in the familiar setting of Egg Studios, with Conrad Uno behind the board, and brought together the entire Longshots crew. Roy Loney sang and played the acoustic guitar. The bass was handled by Scott McCaughey, Jim Sangster and Johnny Sangster. Jim and Joey Kline played most of the guitars, with Johnny picking up the Telecaster for Raw Deal. The drum duties were split between Graham Black, and Tad Hutchison. This collection of musicians appeared in the original Longshots line up, and the current configuration.

Recording resumed in 2006, with Jim Sangster supervising the Seattle overdub sessions. Mark Pickerel contributed percussion, Micah Hulscher added keyboads, and Scott Sutherland joined Johnny and Joey for background vocals. Joey Kline's visit to Career Records' GLEA studio marked the start of the Montana sessions, which would continue on through the completion of the album. Lable boss Deniz Tek was a regular visitor, contributing guitar to several tracks, and overseeing Roy's vocal and guitar overdubs. A&R man, Ron Sanchez solicited a major guitar contribution from friend, and Groovies fan Bobby Sutliff. A chance encounter lead to Barri Roussac coming in to play the fantastic boogie piano on two of the album tracks. Richard Mockler, from Joey's band, the Plaintiffs, had a go at several numbers. His organ licks are featured on the epic Great Divide

The music is all rock, with some unexpected twists. At a Longshots gathering, the name Rockpile is often invoked. Shake It Or Leave It opens and closes with the results of this cult worship. Hey Now features the current Longshots line up. Baby du Jour is a hybrid version of the 'Shots with the rhythm section of Graham Black and Scott McCaughey propelling the guitars of Jim and Deniz as the album kicks off at full speed. The Johnnie Johnson piano is the finishing touch.

There is no mistaking the "Tad Hutchison Sound" that launches Big Time Love. The lewd pulsating rhythms and massed guitars remind us why the government tried so hard to ban rock and roll in the fifties. It probably comes as no surprise that Roy had Gene Vincent and The Cramps in mind when he was working on this one. Career Records untility man, Bobby Sutliff came up with the CCR styled guitar figure that proved to be the glue this song needed. That's Deniz soloing. Joey and Jim's guitars provide the drive and flash.

The Great Divide is one of the numbers that spotlight the talent that is Jim Sangster. Roy wears his singer-songwriter hat proudly on this Dylan influenced number. They manage to capture the 1966 California folk-rock sound and make it sound fresh and modern. Does anyone else hear the nod to George Harrison in Jim's dobro solos?

If you know Roy you'd know about his love of film and film music. The first of a couple of big surprises on this record, Big Fat Nada is built on an Ennio Morricone motif, topped with some very clever lyrics from Roy. Roy has a sharp wit, and it comes to the fore here. Once again, Jim Sangster is front and center in the cinematic arrangment.

The Sangster brothers grew up in a musical family. Their dad is a fantastic guitar player, and passed his talents down to his sons. While rehearsing Raw Deal in Jim's living room, Johhny put the bass down and picked up the guitar. Jim was looking for a good reason to play his new stand up bass, and this seemed to be the one. What you hear was the results; cut live in just a couple of takes. Micah Hulscher added the piano later, and after some debate, it was decided it suited the song and was added to the final mix. When we were in the studio recording this one, Roy asked if it needed another verse, as it was so short. Everyone insisted that it was perfect. Economy is a lost art, innit?

Things jump from Tennessee to Liverpool 1962 for Danger Waves. You have to remember that there were dozens of bands that played the Cavern, that never made it big: Rory Storm and the Hurricanes, Faron's Flamingos, and The Big 3. So turn the hi-fi high, and the lights down low... Mixed in mono to remind us of the simple times just a few years before Strawberry Fields. That is Scott "Ringer" Sutherland, Johnny and Joey supplying the groovy three part harmonies.

Deniz Tek couldn't wait to work on this record and Don't Like Nothing might be his finest moment. This fuzzed out scortcher acknowledges what a huge influence the Yardbirds were. The lyrics might be a bit more Pretty Things, rather than some deep though Keith Relf poetry. This is actually Deniz' second attempt at playing on this one. When Roy was in Montana, Deniz suggested a shorter solo section might be more effective. This more compact version proved to be the vehicle for some vintage fuzz tone experiments.

From freak beat to raga rock, in the blink of an eye. It seems that Roy was thinking Donovan, when he wrote Subterranean Waterfall, but once it was in the hands of the Longshots, it took on another dimension. Once again it recalls the West Coast, maybe a bit of Jefferson Airplane. That is Joey playing Jimmy Silva's Gibson 12 string, creating the ethereal mood that carries the song.

I doubt Roy could do a record with out some reference to Ray Davies and the Kinks. There is a good reason Radio Birdman asked Roy to join them on stage for a reading of 'Til The End Of The Day. Hamlet's Brother Happy is classic mid period Kinks. This song could have been lifted from Face To Face, right down to the Nicky Hopkins inspired harpsichord part. Don't let the oboe solo throw you. Once again Roy's sly literate sense of humor is apparent in these finely crafted lyrics.

Miss Val Dupree is one of those songs that evolved from the time it was written right up through the last overdub. This was also one of the most fun to record. Once again it was Tad Hutchison who made sure nothing about this song would be "normal". Just the fact that anyone hit the down beat is pretty amazing. Roy's original Roger Miller concept took a left turn with the heavy NRBQ feel. Might be a bit of Lovin' Spoonful heard too. Oh, and don't forget the Augie Meyer Vox organ. Deniz' rhythm part tied it all together and gave Jim a framework for his ripping solo. Madness reigns. Pip Hoyle from Radio Birdman had a go at the organ part, but unfortunately he didn't get it to us in time to appear on this album. That doesn't mean you will never hear it...

Roy's film noir visions are captured in the breakneck paced Looking For The Body. It's hard to tell if it's directed by Alfred Hitchcock or Chuck Jones. Between the rapid fire pulp fiction images, there is still room for two guitar solos. That's Jim doing his " Big Al Anderson" on the first one. Deniz and Jim duke it out over the fade out.

Hey Now takes us home with a tip of the hat to the boys in the band.

It should come as no surprise that 40 years since he first appeared fronting the Flamin' Groovies, Roy is still creating vital music. In recent times, Roy has been seen on stage with contemporaries like the MC5, Radio Birdman and the Barracudas. His fans include the likes of Jack White, Little Steven, Kim Salmon and you.