" This intriguing album ...is a real humdinger. The attraction of the album is Bradley's Boogie which is loved by everyone although the album is completely sensational. This very talented young man is in fact a solo artist as far as I can tell as much of the album, instruments backing and everything else is performed and recorded by Mario Bradley...The album is definitely going to be a smash, one of the best I've ever heard I think. Ask your DJ for Bradley's Boogie, it's just FAB! Roaming Mad Rat Mag

"Mario's stimme klingt so tief und rauh wie die von Clarence 'Frogman' Henry...Von den zwolf titeln hat er elf komponiert..Die stucke sind musikalisch recht einfach gehalten, aber absolut tanzbar. Also ruhig einmal hineinhoren." Rock 'n' Roll Musikmagazin 5/2001

" Bevor ich etwas auf die Geschichte des Interpreten eingehe, will ich hier erst mal ausdrucklich erwahnen, das ich lange schon keine CD mehr von dieser Intensitat gehort habe. Neun der 12 titel sind Eigenkompositionen, die aber so vor originalem Feeling strotzen, dass man dies beim Horen kaum glauben mag. Alle vocals und auch die Backing Vocals hat Mario selbst eingesungen - und hier zeigt sich seine grosse Starke, namlich die gesangliche Viefalt. Zwar herrscht ein rauher, kratziger Grundton vor, aber dennoch ist seine Stimme so variabel, dass die CD von daher nicht langweilig wird.....Ich fand die CD klasse - und auch diejenigen, die vielleicht mit dem teils sehr ungewohnlichen Gesangsstil Probleme haben Konnten, werden die CD dennoch geniessen. Ach ja - und viel langer hatte sie auch nicht sein durfen, denn 30 minuten intensiven Durchtanzens schlauchen schon ganz schon. " Rock 'n' Roll Musikmagazin 2/2002

Mixing jazz, blues and rockabilly, the CD hits off with "Bradley's Boogie", and if you're planning on jumping and jiving tonight, take this platter along, you'll never get tired of it. Dave Diddle Day's "Blue Moon Baby" sounds like a voodoo spell with Mario's voice real low and scraping, awesome! "Drinking Juice" comes thundering in with Mario's greasy slapping bass, still dark voiced, and Russel Bradley (no relation, but cool dude all the same) blowing his sax, how-how!
The double bass is really pepped up on all tracks and "Whiskey And Wine" is no exception. If you like your rockabilly with a loud slap, you came to the right place. "Rock Me Baby" is picking up speed real fast, try boppin' to this one. Great bass string plucking too! "Ain't Got No Diamonds" is another self-penned track, although Mario did listen pretty close to Clarence 'Frogman' Henry's "Ain't Got No Home". Bill Haley was one of the first to mix jazz with rockabilly, like Mario does, and Bradley's "Chicago Jive" is one of these songs that could have been a Haley original, with Russel blowing his sax of course.
"Boppin' To Grandfather's Clock" is your basic rockabilly with a touch of hillbilly, orgininally releases by Sidney Jo Lewis (Hardrock Gunter) I think. More rockabilly on "Long Brown Hair" with Jim Oertling style guitar licks (Old Moss Back). Then Mario switches voices again, while still plucking his upright bass like a mad man, on "Boogie Shake", followed by "Crawdad Hole". The back cover states that it was written by Jack Earls, but to the best of my knowledge this is a country traditional, re-arranged and issued in rockabilly style by Red Moore (Crawdad Song). Of course Jack recorded it too for Sun. Last track is one more jazzy rockabilly jiver, with a rocking piano interlude by Pat Broderick and Mick Lewis (ex-Whirlwind) on guitar, "She's Got Me Hynotised". Rock 'n' roll baby!

"But finally, the brand new 'Rhythm Junction' is out and delivers the same scientist mixes, the same receipt which had made the savour of the first. Fault finders will be able to reproach this second opus for being a kind of carbon copy of the first and they will not be wrong but Mario overcomes so well this difficult combination between various styles and compositions (12 out of 16 titles of which some are co-signed with Volker Houghton) that I again let myself embark with the first title 'Hey Baby', a wild, and violent rockabilly haunted by the cavernous vocal of Mario which always remind Hardrock Gunter one of its most obvious influences and to which he pays a vibrating homage with the cover of 'Whoo! I Mean Whee!'. And with Mario there's no time to rest or have a nap: all the titles are pure energy and it is not with 'Bip Bop Baby', 'Spellbound', 'Metronome Mama' or 'Rhythm Train' (which can make you think of a band like 'Johnny Bach and his Moonshine Boozers') that you’re gonna stop of boppin'. The Jump-Blues and Jivers as 'Hep To The Boogie', 'Mabel', 'Beale Street' or 'Bye Bye Boogie' are also effective to make you dance. The only 'cool' one with a country flavour is 'Long Time Gone'. An excellent album for those which are not afraid to maltreat their ears, stomp their feet and wet their shirt!" David 'Long Tall' Phisel

And here I have in my CD player Mario's new album "Rhythm Junction". Same cat, same style as the first album, and since we awarded that 5 stars a couple of years ago you can imagine I was anxious to hear this one. Mario is staying true to his roots and he's still scraping his throat when he sings. Although influenced by many great 50s stars, Mario's style is all his own: rocking and shaking. Just listen to his self-penned "Spellbound", it's spooky, scary, and it will definitely rock your socks off. Or try his rendition of Marvin Rainwater's "Boo Hoo" on for size, it's sure to fit! You can catch your breath for a while listening to the trad rockabilly song "Long Time Gone" and swing to the rhythm & blues on "Mabel". Most songs on this album were written by the man himself, and if you like your steak rare like I do, I just know you will enjoy all 16 tracks on this platter, 'cause it's all raw & rocking.