• Tim Polecat, lead singer for neo-rockabilliy band The Polecats, photogrpahed by Alexander Thompson for Ponyboy Magazine in New York.
  • Red haired Polecats frontman Tim Polecat, photographed by Alexander Thompson for Ponyboy Magazine in New York City.
  • A detail shot of Tim Polecat's Gretsch guitar. Photographed by Alexander Thompson for Ponyboy Magazine in New York City.
  • A closeup shot of Tim Polecat's Gretsh guitar, photographed by Alexander Thompson for Ponyboy Magazine in New York.
  • A photo of Tim Polecat's skull necklace. Photographed for Ponyboy Magazine by Alexander Thompson.
  • The back label for rockabilly musician Tim Polecat's white leather jacket. Ponyboy Magazine.
  • A closeup shot of Tim Polecat's rockabilly creeper shoe. Ponyboy Magazine in New York.
  • Headshot of musician Tim Polecat. Photographed by Alexander Thompson for Ponyboy Magazine NY.
  • A photograph of neo-rockabilly singer Tim Polecat, from 70's-80's band Polecats. Photographed by Alexander Thompson for Ponyboy Magazine NY.
  • Press clippings of Tim Polecat and The Polecats. Ponyboy Magazine NY.
  • Old press clippings for neo-rockabilly band Polecats. Ponyboy Magazine.
  • Press photos for 70's neo-rockabilly band Polecats. Ponyboy Magazine in New York City.
  • Assorted old snapshots from the personal collection of Polecats frontman Tim Polecat. Ponyboy Magazine New York.
  • Snapshots from the personal collection of Tim Polecat, lead singer for UK rockabilly band Polecats. Ponyboy Magazine New York.
  • Snapshots of rockabilly singer Tim Polecat, from the Polecats. Ponyboy Magazine NY.
  • Assorted snapshots of Tim Polecat, lead singer for UK rockabilly band Polecats. Ponyboy Magazine NY.
  • Live shots of lead singer Tim Polecat, from rockabilly band Polecats. Ponyboy Magazine in New York City.
  • Assorted live shots of rockabilly singer Tim Polecat, from Polecats fame. Ponyboy Magazine in NY.
  • Live shots of legendary rockabilly singer Tim Polecat. Ponyboy Magazine.
  • Live photos of Tim Polecat, photographed by Alexander Thompson at Tom Ingram's Viva Las Vegas 17, for Ponyboy Magazine in New York City.
  • Record covers of UK rockabilly band Polecats. Ponyboy Magazine NY.
  • Record covers for UK 70's-80's rockabilly band Polecats. Ponyboy Magazine.
  • Assorted album covers for UK neo-rockabilly band Polecats. Ponyboy Magazine in New York.
  • Record covers for UK neo-rockabilly sensation Polecats. Ponyboy Magazine NY.
  • Colorful album covers of neo-rockabilly band Polecats. Ponyboy Magazine in New York City.
  • Old record covers for UK rockabilly band Polecats, fronted by Tim Polecat. Ponyboy Magazine in New York.
  • An old ad for the Polecats single
  • Old flyers from The Royalty Nitespot, for the Polecats live shows. Ponyboy Magazine NY.
  • A Polecats logo. Ponyboy Magazine.
  • PInk vinyl album from rockabilly band Polecats, of their single
  • An old band button for the Polecats. Ponyboy Magazine.
  • Tim Polecat's Gretsch guitar case. Photographed by Alexander Thompson for Ponyboy Magazine in New York.
  • Rockabilly legend Tim Polecat photographed for Ponyboy Magazine by Alexander Thompson.



Tim Polecat Worman is the red haired vocalist for the legendary neo-rockabilly band The Polecats. The Polecats were formed in the UK in the late seventies and still perform around the world. Successful chart songs include “Make a Circuit With Me” and “John, I’m Only Dancing.” We were very excited that this talented musician agreed to a photo session and interview for Ponyboy, as we have been big fans for years. Tim also allowed us access to images from his own personal collection of photographs from over the years. Read our interview with this extraordinary musical icon. Portraits by ALEXANDER THOMPSON. Additional photos courtesy of Tim Polecat.

PONYBOY:  Tim, please tell us about your childhood and teen years in the UK.

TIM POLECAT:  I was born in 1963 and grew up in suburban North London. I guess I am a product of that era of U.K. pop culture. I remember the 1966 World Cup final, as well as the Moon landing. I grew up obsessed by American comic books, British sci-fi TV and most of all rock ‘n’ roll music. And to be honest, nothing much has changed.

PONYBOY:  How did The Polecats come about?

TIM POLECAT:  I got an electric guitar for my 12th birthday. A few days later a kid from my boy scout troop knocked on my door and asked if he could have a go on it. This was, of course, Boz Boorer. We exchanged all our guitar playing knowledge and he soon also acquired an electric guitar. Boz and I jammed with various local musicians until we ran into Phil Bloomberg, who I knew from primary school. Phil was just switching from cello to bass guitar, and we soon recruited him.  Chris Hawkes, another primary school friend of mine, was just learning drums. So, we learned a bunch of rockabilly and punk rock covers, and pretty soon had some of our own songs, which were mostly written by Phil and Boz. At first our band was called The Cult Heroes (which was supposed to be ironic), but this became problematic when we tried to get gigs in rock ‘n’ roll clubs, who presumed that we would not fit in. Chris had recently found a bunch of stickers with a picture of a stretched out cat and the word ‘Polecat” on them. So, we decided that this sounded a lot more in keeping with the direction of the band, and we started using it and very soon we were playing the U.K. teddy boy circuit. After a lot of saving up, Boz got a Gretsch guitar and Phil switched to a double bass, which was inspired by American acts like Ray Campi.  I moved from guitar to lead vocals. And that was the basic prototype and we just took it from there. The Polecats have remained basically unchanged since the addition of John Buck around 1983. We have a few squad players, but the team is still the same.

PONYBOY:  What was the rockabilly scene like back then in the U.K.?

TIM POLECAT:  The rockabilly scene in the U.K. grew out of the teddy boy scene. I think it was a lot of younger Ted’s searching for a new identity of their own, separate from the Ted movement, which was at this point getting a little stale and was very narrow-minded. Newly discovered raw sounding fifties music was being discovered and I think it was only natural that it would develop it’s own visual style. In hindsight though, it was very expensive to dress like a Ted and to do it properly without being a “Plastic” and very hard for the younger audience, many of who were still in school. The “Rockabilly Rebel” look was a very DIY thing and was within the reach of a creative jumble sale and charity shop patron. A short time later the rockabilly scene got more elaborate, fashion wise, with reproduction versions of the more flamboyant fifties attire popping up on King’s Road and in Kensington Market. Also, shops like Flip were buying real vintage items from the USA by the masses and shipping them over. The music on the scene was always based around the rediscovery of forgotten gems, and later on bands that reinvented the raw sound of those fifties records.

PONYBOY:  Did the Polecats have a bigger following back then in the rockabilly scene or more so in the punk/new wave scene?

TIM POLECATThe Polecats started playing exclusively in the teddy boy/rockabilly scene in Europe. It wasn’t until we saw bands such as Levi and the Rockats, Whirlwind and American acts like Robert Gordon (playing in mainstream venues) that we thought it would even be possible to play outside our own scene, let alone play on the same bill as a punk or new wave band . It was only when we started playing in colleges and mixed venues that we started to pick up a more diverse audience. We toured with Rockpile, which put us in front of their mainstream audience and got us out into previously unexplored territories like Scotland and Wales. As soon as we had a record deal we were playing in Scandanavia and Europe, where the market for rockabilly was opening up. In Finland in the eighties, The Polecats, Stray Cats and Crazy Cavan all had records in the mainstream charts at the same time.

PONYBOY:  How did that incredible style evolve for the band? Was there a lot of thought put into the look?

TIM POLECAT:  We did put a lot of thought both into our style and our sound, but it was something that developed organically and wasn’t an overnight thing. I have to admit that after seeing Levi and the Rockats, we made a conscious decision to up our game visually. We also had a bit of a rethink in the performance department after seeing The Cramps for the first time. We would borrow and adapt from a wide range of influences, both visually and musically. Of course, it was much harder to do in those days because we did not have the access to information that is taken for granted these days and also did not have unlimited funds to bring our ideas into reality.

PONYBOY:  The band eventually broke up in the mid-eighties and you ended up in Los Angeles. What was that like for you as an artist and on a personal level?

TIM POLECAT:  Actually, The Polecats had only really become nonoperational between 1984 and 1988. We have been playing constantly since then, despite my move to the USA. Our fan demographic became increasingly international, so meeting up on foreign soil from different base camps works very well. I have always been interested in Americana and it made sense to move to Hollywood when the opportunity arose. My day job was in the film industry and there was a lot of work in the late eighties for a British production designer. I have worked on hundreds of projects in the visual medium, but mostly work as a producer these days.

PONYBOY:  Tell us about the band 13 Cats and how that formed. It’s an incredible ensemble of musicians.

TIM POLECAT13 Cats started after a successful double bill tour of Japan with The Polecats and The Rockats. Smutty Smith and I both lived in Hollywood and wanted to keep the party going. He had just reconnected with Slim Jim and I had been in touch with Danny Harvey ever since the late seventies. We got together for a jam session and it developed from there. At first we just intended to do covers with 13 Cats, but very quickly we had an entire set of original songs. The vibe of 13 Cats was a darker, black leather rock ‘n’ roll, which was in contrast to the sugary sweet swing movement that was going on around that time. We crossed over into the surf/garage scene and even had a track on a Dionysus compilation. We played shows with The’s, Guitar Wolf, The Bomboras and Hasil Atkins. The band only lasted a few years, but we did one LP that I am very proud of and we still perform together on very special occasions.

PONYBOY:  What bands are you playing in now?

TIM POLECAT:  Right now I am playing live with the regular Polecats and my own Tim Polecat Trio, which has rotating members, depending on availability and location. I also play with Slim Jim in his trio. Recently I have done a few shows fronting Polecats tribute bands, which although sounds like a strange concept, works really well. In more recent years I have been concentrating on playing lead guitar (with a thumb pick), while singing at the same time. This is possibly to prepare for the day when I can’t drop kick and stage dive anymore!

PONYBOY: You left Los Angeles recently, after so many years, and moved to Palm Springs. What brought that about?

TIM POLECAT:  In this day and age, being an artist and musician has two big requirements–the internet and an airport! Palm Springs has both of those facilities and is very mid-century modern looking, which I am totally into. I’m setting up a small recording studio and an art facility here.

PONYBOY:  Lastly, you’ve probably been asked this a million times before, but please tell our readers what musicians have really inspired you in the past, and what newer bands you enjoy now.

TIM POLECAT:  The bands and musicians that most inspired me were essentially fifties rockabilly, seventies glam and seventies punk. Also, add to that the teddy boy bands of the mid- seventies. The early influences of The Polecats came a lot from our original drummer Chris Hawkes, who had two older brothers that would buy rockabilly records frequently. In the mid- seventies during school lunch times (which would often extend into afternoon truancy), we would sit around Chris’s house and listen to all the rediscovered gems that were surfacing during this time. It seemed like every week a major record company would delve into their archives and release a compilation of killer tracks. MCA, Capitol, Mercury, RCA, MGM, Imperial and Chess all had their own “rockabilly” LPs. The Polecats also added to our musical repertoire by frequenting clubs such as The Royalty, and memorizing our favorite tracks. We would sometimes even sneak in a cassette recorder to tape the songs we wanted to play. I think our musical influences as a band are quite self-evident from the cover versions we pick. However, some are hidden quite deep. For example, a lot of the songs that I wrote with Phil are inspired by northern soul and 1977 punk. Unless I pointed out the specifics, no one would know. I am very bad at keeping up with current trends, but I have to say that Furious and The Ceazers seem to be the stand out newer bands to me from the rocking scene. As for mainstream music, nothing has really caught my attention for decades, apart from Die Antwoord, who have an audio visual style that is impossible to ignore.


  • Opening spread of Rockabilly legend Levi Dexter for Ponyboy Magazine in New York City.
  • Old b&w photos of Rockabilly band Levi & The Rockats for Ponyboy Magazine.
  • First flyer for Rockabilly band Levi & The Rockats US show at Max's Kansas City in New York City, Ponyboy Magazine.
  • Album cover of Rockabilly band Levi Dexter & The Ripchords for Ponyboy Magazine.
  • Vintage posters for Levi & The Rockats performing at CBGB's in New York City, Ponyboy Magazine.
  • Photos of Neo-Rockabilly legends Levi Dexter, Smutty Smiff and Danny B. Harvey, Ponyboy Magazine.
  • B&W collage of Rockabilly singer Levi Dexter for Ponyboy Magazine in New York City.
  • Old b&w photo of Rockabilly singer Levi Dexter with his then manager Lee Childers in London, Ponyboy Magazine.
  • Vintage posters for Rockabilly band Levi & The Rockats at Max's Kansas City In NYC, Ponyboy Magazine.
  • Levi & Bernie Dexter, Tim Polecat and Levi and The Rockats, Ponyboy Magazine.
  • Pomp album cover, Levi Dexter for Ponyboy Magazine.
  • Various photos of Levi Dexter, Levi & The Rockats for Ponyboy Magazine.
  • Levi & The Rockats, photo by photographer/manager Lee Childers, Ponyboy Magazine.
  • The amazing Levi Dexter performing onstage in Los Angeles at The Whisky A-Gogo, circa 1978, Ponyboy Magazine.
  • Photos of Levi Dexter, with wife Bernie Dexter, Wanda Jackson and Ray Campi, Ponyboy Magazine in New York City.
  • Vintage80's posters for Levi Dexter show in Los Angeles, Ponyboy Magazine.
  • Various old b&w photos of Levi and The Rockats, Ponyboy Magazine.
  • Rockabilly performer Levi Dexter in a gold jumpsuit, performing in Los Angeles in 2009. Photo Jim Knell, Ponyboy Magazine.
  • Rockabilly flyers for singer Levi Dexter, Ponyboy Magazine.
  • B&W band photo of Levi & The Rockats by Lee Childers, Ponyboy Magazine.
  • Photos of Rockabilly singer/performer Levi Dexter, Ponyboy Magazine.
  • Posters for the first US appearance of Levi & The Rockats, opening for The Cramps at Max's Kansas City in 1978, Ponyboy Magazine.
  • Various flyers for Rockabilly performer Levi Dexter, Ponyboy Magazine.
  • 80's Rockabilly legends Levi Dexter and Slim Jim Phantom, Ponyboy Magazine.
  • L.A. Eyeworks ad from the 80's with Rockabilly legend Levi Dexter, Ponyboy Magazine.
  • Artwork for Rockabilly singer Levi Dexter, Ponyboy Magazine.
  • Publicity photo from the 80's of Rockabilly musician Levi Dexter, Ponyboy Magazine.
  • Levi Dexter & The Gretsch Brothers in Japan, circa 2011, photo Junko Yamada, Ponyboy Magazine.
  • Double image of Rockabilly singer Levi Dexter performing, photo Paul Kaban, Ponyboy Magazine.
  • Levi Dexter with wife/model Bernie Dexter, as well as Tim Polecat, Ponyboy Magazine.
  • A collage of Rockabilly performer Levi Dexter in the 1980's UK, Ponyboy Magazine.



LEVI DEXTER: Modern Day Rockabilly Phenomenon. A British born teddy boy, Levi became the founding frontman for the late 1970’s band Levi and the Rockats, when he was discovered by clever music visionary Leee Childers. Though he has changed bands throughout the years, he always stayed true to the musical influences of 50’s rock’n’roll. Living the good life in Portland with wife Bernie Dexter, we reached out to Levi and asked him about his upbringing as a British ted, coming to America, leaving The Rockats and his musical evolution. All photos courtesy of Levi Dexter.

PONYBOY:  Levi, please tell us about your early years in the UK?

LEVI DEXTER:  I was raised in Chelsea in London by my mother. My father was a drummer from Venezuela who left us when I was 5 years old. I really had no interest in the music of the 1960’s when I was a boy. I always gravitated toward music of the 40’s and 50’s that was still being played on the radio. By 1972 I was very into 50’s rock ‘n’ roll. Malcolm Mclaren had opened a teddy boy shop on Kings Road in Chelsea called LET IT ROCK. And it was just around the corner from my home, so I spent a lot of time there. This was years before he managed the Sex Pistols and the punk rock movement. When I was 15 we moved to Southend-On-Sea in Essex on the south east coast of England. There was a huge teddy boy movement there. That’s where my rock ‘n’ roll roots really began.

PONYBOY:  That must have been such an exhilarating experience being a ted back in 1970’s England. Tell us a bit about that.

LEVI DEXTER:  Yes, by 1974 I had found The Pier Bar in Southend. We called it the Long Bar.  It was strictly for teddy boys and teddy girls. You couldn’t get in if you were a square as there was a strict code. You had to wear the right clothes, have greasy hair, listen to nothing after 1959 and show respect for all other teddy boys and defend them when there were fights with outsiders. I used to see Crazy Cavan and the Rhythm Rockers and also Flying Saucers play there quite often. Then one day I was singing along as the band played and Cavan asked if I’d like to come up and sing a song with the band. This was the start of it all for me. Pretty soon every time Crazy Cavan & the Rhythm Rockers and Flying Saucers played I would be asked to jam. I owe so much to Cavan Grogan and Sandy Ford for giving me the opportunity to learn to have faith in myself at such an early age.

PONYBOY:  The feud between the teds and the punks must have been very chaotic looking back now?

LEVI DEXTER:  Basically, the teddy boy style had always struck fear into people on the street, with a reputation of violence and a commitment of defending 50’s rock ‘n’ roll music and lifestyle. Once the punks were on the street the increased shock value made teddy boys seem less scary. Added to this, some punks were disrespecting our places and fighting teds when we were in small numbers. This escalated pretty fast. Malcom Mclaren had closed LET IT ROCK and had opened his shop called SEX at the same location selling bondage gear and punk rock fashion. The punks there mocked the teddy boys and the final straw was when a photo of Elvis Presley that was on the wall had a dagger drawn in his back. The punks also had a show at the Queens Hotel in Essex, another bastion of the teddy boy scene, and burned the confederate flag that hung on the wall. They took it as racist, but to us it represented rockabilly music as the rock ‘n’ roll of the south. It stood for rockabilly rebel. Dozens of teddy boys would gather at Sloan Square (at one end of the King’s Road in Chelsea) and then march together down to Malcolm’s store and fight with any punks that cared to show up. The newspapers had a field day exaggerating the trouble that was going on and printing extreme headlines and stories. For a while if you were a teddy boy, rockabilly or punk you had to watch yourself on the street or move around in numbers. It was exhilarating but it was also quite stupid and became a drag. In 1977 I jammed with Shakin’ Stevens band the Sunsets at a show in London. There were teds and punks there and the atmosphere was tense. I did my couple of songs and everyone came together to the front of the stage, both teds and punks enjoying the good energy. It was at this show that I met Leee Black Childers. He had been involved in the music scene for many years and was a famous photographer. He had worked with Mott the Hoople (“All The Way To Memphis” is dedicated to him on their LP). He also had done the image for the “after the apocalypse” inside centerfold on David Bowie’s “Diamond Dogs” album. At the time I met him he was managing the Heartbreakers (ex-New York Dolls)featuring Johnny Thunders. He approached me and asked me if I’d ever thought of fronting my own band. I told him it wasn’t possible as none of my friends could play music. He told me it could be done. Within weeks, myself, Smutty Smith on double bass, Dibbs Preston on guitar (known as Eddie Dibbles back then), Mick Barry also on guitar and English Don on drums became Levi and the Rockats. We practiced as much as we could but knew we could never play the teddy boy scene as they were so strict about bands sounding exactly like the 1950’s recordings. Leee made plans for us to play at punk rock shows which was a very daring concept in 1977.

PONYBOY:  And how did you actually start performing?

LEVI DEXTER:  Leee had booked us to play the end of term Christmas party at the Royal College Of London on November 10th 1977. We had made friends with many of the punks and had been accepted by them and even borrowed amps from Marco of Siouxsie and the Banshees. We went on stage and struggled through our show, and came off feeling very defeated. It was not the show we had always imagined. As we came off stage Johnny Thunders told us to go back out for an encore even if it wasn’t called for. We went back on stage and Johnny did a 3 song Chuck Berry medley with us and everyone there went wild! We came off stage saying, “We’re awesome! We rocked it!” Of course, it was Johnny who was awesome and rocked it! Our third show was at the Music Machine in London on December 26th, 1977 with Siouxsie and the Banshees, Adam and the Ants and many other punk bands. We had to go on last and it was our first really good show. It was a real party and everyone really accepted us and enjoyed the show.

PONYBOY:  Leee Childers discovered you and was the visionary for Levi and the Rockats. He brought the band over to the USA and knew all the “right” people, like Andy Warhol and all those fabulous types in the back room at Max’s Kansas City. It seems like you owe him a lot. Are you still in touch with him?

LEVI DEXTER:  Yes, Lee was the reason for all of our success! He is a man with vision and faith. He is fearless and never gives in. He’s the epitome of rock ‘n’ roll spirit. I would not be where I am today if it wasn’t for him. I learned so much from him and I will always be extremely grateful. He worked with Andy Warhol in the stage play “Pork” in New York and was very “in” with the Warhol crowd. He got us into Andy’s INTERVIEW magazine and also the Andy Warhol cable TV show where Debbie Harry from Blondie interviewed us. He also got us on the first ted/punk tour with Wayne County and the Electric Chairs in 1977. This would mark the end of the ted/punk wars. Lee brought us over to the U.S. in July 1978. Our first show was November 10th, 1978 (our 1st year anniversary) at Max’s Kansas City in New York City opening for the Cramps. We were selling out clubs in New York like Max’s and C.B.G.B’s, and then clubs in Los Angeles like the Whiskey-A-Gogo, the Starwood and the Troubadour. We performed live nationally on the Merv Griffin T.V. show and also played live on the Wolfman Jack Midnight Special. One of the other acts on the show was the Jackson’s without Michael. Leee and his long time friend Tom Ayres got us on the Louisiana Hayride (the first rockabilly band to play there since Elvis in the 50’s). I could go on endlessly listing the great things Lee did for me. We chat now and then on FaceBook and email. Sometimes he will send me photos of Levi and the Rockats. He is still active and creative and still working in rock ‘n’ roll and art.

PONYBOY:  Shortly after living in the US you departed from the Rockats to stay loyal to your manager Lee, which was very honorable of you. It seemed at that moment that Levi & The Rockats may have perhaps been on the brink of “pop” stardom. Looking back, are you fine with your decision to leave the Rockats? And are you still in touch with Smutty, Dibbs and the others?

LEVI DEXTER:  It was a hard time. We had gone as far as we could but still had been unable to get a recording contract. Most record labels didn’t see rockabilly music as a form of music to be respected. Many times I was told “if only you didn’t play THAT kind of music” and “Haven’t you heard of Duran Duran? Couldn’t you sound more like them?” My answer was “Would you say this to B.B. King or George Jones?” I have always been a devoted defender of real rock ‘n’ roll and rockabilly music and demanded that it be given the same respect as so many of the other original American music styles like country western, blues, jazz, etc. All had been handled respectfully. And I would demand the same respect. For my stubbornness, I would be rejected for not “playing the game”. Eventually the guys in the band looked for who to blame for not getting a record deal and going further. They wanted to have a new manager. I wouldn’t sell Leee out. Leee and I insisted on being West Coast based in Los Angeles. The Rockats wanted to be based in New York. Of course, once we broke up in December 1979, they moved to New York, signed to R.C.A. records and recorded the very poppy “Make That Move”. They were willing to compromise to get ahead, and the record went nowhere. They did well, but not as well as Levi and the Rockats. Whenever there’s a Rockats reunion they only go back to 1980, therefore, excluding me. We have only ever done one reunion show and that was at the Green Bay Rockin’ Fest III in 2007. One show together in 35 years! Smutty and I are like brothers and will always be close. The others I just say “hi” to once in a while on FaceBook.

PONYBOY:  After leaving the Rockats, you went on to form Levi Dexter and the Ripchords, Levi Dexter and Magic, and Levi Dexter and the Gretsch Brothers. It’s all an amazing evolution and was probably fun to reincarnate yourself in different bands and musical projects. Looking back, what period or album would you say has been your favorite part of your musical career so far?

LEVI DEXTER:  The time spent with Levi and the Rockats was the most exciting of all. I was young and wanted to turn the world on to rockabilly music. It was my first time in the U.S. and we were breaking ground and reaching new nights every month. It was the biggest thrill-ride ever. There was no Stray Cats yet. There was nothing in the way except the stubborn suits at the record companies. We turned the world on to rockabilly music and the scene has gotten bigger every year since then. I’m very proud of what we did for rockabilly music.

I am most proud of my new album Levi Dexter – Roots Man that I have produced myself and has just been released on my own Dextone Records label. It is distributed by Rhythm Bomb Records in Europe . I recorded it at Moletrax West / Danalog recording studios in California and mixed it at Roseleaf Recording in Portland with mixing engineer Jimi Bott (drummer for the Fabulous Thunderbirds). I’ve had total control over this album and consider it to be a great rockabilly album.

PONYBOY:  Being inducted into the Rockabilly Hall of Fame is such an amazing achievement as an artist. Congratulations. The high must have been incredible.

LEVI DEXTER:  It really means so much to me! I am in there with all my peers and friends. For years to come new young people discovering rockabilly music will see my name and check me out. I’m far from done, but after so many years devoted to rockabilly music, it feels really good to be honored in this way. I will always consider it a special achievement in my career.

PONYBOY: You’re now in Portland, Oregon with your wife Bernie Dexter, the legendary pin-up model and clothing designer whom you shoot constantly. We love the images that you take of her. Tell us what daily life is like with your glamourous wife.

LEVI DEXTER:  Bernie and I live a very normal life in Oregon. We work together every day and live in a lovely English manor house, spending every moment together. I am so proud of her! She’s such a hard working woman who always has a positive attitude, and friendly and good spirited to everyone she meets. She works tirelessly on her clothing company and photo shoots. I’m always happy to shoot the photos as it’s some of the most fun we have, it’s always a party. When we’re not working we just spend time together and enjoy every moment we have. We’re still both madly in love with each other and are never tired of each other’s company.

PONYBOY: We read that your favorite thing to do is perform at rockabilly weekenders/festivals. We love weekenders as well. Tell us your favorite festivals in the past. And also, do you have any performances scheduled at any upcoming festivals?

LEVI DEXTER:  My favorite festivals that I’ve played at are the Green Bay Rockin’ Fest in the U.S., the Hemsby Rock ‘n’ Roll Weekender, the Americana Festival, the Ace Cafe in England, the Good Rockin’ Tonight festival in France, the Valencia Hall Party, and the Screamin’ Festival in Spain. Strangely, I’ve never been asked to play the Viva Las Vegas weekender?

I’ll be playing the Good Rockin’ Tonight festival in France in March, as well as playing in Milan and Italy in April. Bernie will be at the Atomic Festival in England in April. And May 31st – June 1st, I’ll be playing at the Kustom Kulture Festival in Washington State. I’ll also be attending the Rockabilly Rave with Bernie in England in June. Bernie has a fashion show there. And I’ll be touring Japan with the Gretsch Brothers (one of my favorite bands to play with) for most of September.

The Levi Dexter -Roots Man album will be out this year on CD and vinyl. Later in the year, the Levi Dexter & the Gretsch Brothers album will also be out on CD and vinyl. It’s out now on CD in Japan. It’s going to be a busy year!

PONYBOY:  Lastly, we know you’ve been asked this before, but please refresh our memory. Tell us your favorite musicians, past and present.

LEVI DEXTER:  There are so, so many great rockabilly artists. My advice is to dig as deep as you can and give a listen to everything! My favorites from the 50’s (in no particular order):

Elvis Presley
Gene Vincent &  his Blue Caps
Eddie Cochran
Bill Haley and his Comets
Joe Clay
Carl Perkins
Charlie Feathers
The Collins Kids
Janis Martin
Johnny Kidd & the Pirates

My favorites from the present:

The Blue Cats
The Polecats
Crazy Cavan & the Rhythm Rockers
Mario Bradley
Charlie Hightone
Cherry Casino & the Gamblers
Marc & the Wild Ones
Ruby Ann
Big Sandy & his Fly-Rite Boys
JD McPherson

PONYBOY:  Do you have any last comments or thoughts?

I’d just like to thank everyone who has supported my music and rockabilly music in general. It’s been underground for over half a century now and is bigger and the scene is stronger than it has ever been. It’s strange that many music styles have come and gone over the years, but rockabilly music has always been there and has always been an alternative to other styles of music. I love seeing the new young generation coming up and getting into the scene. It makes me feel good to know new people are discovering rockabilly music and living the rockabilly lifestyle. For me, singing rockabilly music is like dancing. It’s a celebration and I do it because I can. Apart from Bernie, it’s the most important thing in my life! I truly feel that the best days are yet to come and it will only get bigger and stronger as time passes. Thank you everyone for taking the time to read this and thank you Ponyboy for including me! Levi Dexter