The Bettajive review at Weekenders
Weekenders, festivals and all-dayers are also covered in a similar way to gig reviews, however they range from 2500 - 6000+ words, depending on the size of the event. Below are some examples of my written work on recent events, and the a selection of photographs taken by June are available to view on the 'Some Pics' page of this website.
Important stuff. All images and words are copyright, by all means copy the link to our site, but please do not copy and paste material from here to your sites without asking us first. The Bettajive Review name, design, content and logo are the property of Andrew and June Smith
If you like what you see, help us to keep it free by hitting the donate button. Thanks muchly
Important stuff. All images and words are copyright, by all means copy the link to our site, but please do not copy and paste material from here to your sites without asking us first. The Bettajive Review name, design, content and logo are the property of Andrew and June Smith
If you like what you see, help us to keep it free by hitting the donate button. Thanks muchly
Rockabilly rave #23
Dawna Zahn of the Hi Jivers
Rockabilly Rave 23
Review by
Andrew Smith
It’s the middle of summer you know, time to get your shorts and Cabana sets out and bask in the glorious sunshine on the South Coast of England in pristine accommodation with the finest gourmet food. The gentle breeze offers some cooling relief as musical strains waft through the air, and……..’OI, Wake up! It’s time for the Rockabilly Rave at Camber Sands Pontins site. It’s windy, it’s cold, and it’s p*ss*ng down, hooray!
Once again, we are here to give you the fullest review, words and pictures, going where others fear to tread. Sure there are a few bands that we missed, logistically it wasn’t possible to get round everywhere, and I’m sure there will be those who’d say we’d missed ‘the best band of the weekend’, but hey, we do eat :D
This is the biggest review we’ve ever written about any weekender, so grab a bevvy and a packet of Hob Nobs (other Nobs are available), and relive four days at Rockabillyland
Raving dot….dot. Best tracks at the Rave ever ever to bucket your chucket for this year are Jerry Lee Lewis’ ‘As Long As I Live’, Gene Vincent’s ‘A Love ‘em and Leave ‘em Kinda Guy’ and George Jones ‘Revenoor Man’ ………New style wrist bands. Not something you might expect to get excited about, but a less irritating cloth style, half the size, and no sharp edges to slice through your sheets, partner, hair or body parts while you’re asleep…..OK, I’ll aim this at our fellow countryfolk. How many (other than me and Miss Aloha) see the name Ray Allen and automatically think ‘Damn silly arse’?.........How to locate your chalet when you arrive and are given your number. Walk to the middle of one of the chalet blocks. Stop. Look left and right. Stop. Walk three paces forward. Stop. Look left and right and up onto the first floor. Go to a different block and repeat. Return to first block and enter chalet you’ve been ten yards away from in the first place….As youngsters, we could get four of us in my escort with luggage. Now with everything, I can just about get June in and we need a wheelbarrow to transport everything from the car across to the chalet…….We’ve had an ongoing dislike of the gulls at Camber, but this year they surpassed themselves with the amount of guano they produced. I don’t think a single car escaped at least one seven inch diameter splat of gull crap this time. A couple of years ago, a Harris Hawk patrolled around the camp scaring them away. Now the gulls swoop around the Harris Hawk. Ruddy hooligans…..
Review by
Andrew Smith
It’s the middle of summer you know, time to get your shorts and Cabana sets out and bask in the glorious sunshine on the South Coast of England in pristine accommodation with the finest gourmet food. The gentle breeze offers some cooling relief as musical strains waft through the air, and……..’OI, Wake up! It’s time for the Rockabilly Rave at Camber Sands Pontins site. It’s windy, it’s cold, and it’s p*ss*ng down, hooray!
Once again, we are here to give you the fullest review, words and pictures, going where others fear to tread. Sure there are a few bands that we missed, logistically it wasn’t possible to get round everywhere, and I’m sure there will be those who’d say we’d missed ‘the best band of the weekend’, but hey, we do eat :D
This is the biggest review we’ve ever written about any weekender, so grab a bevvy and a packet of Hob Nobs (other Nobs are available), and relive four days at Rockabillyland
Raving dot….dot. Best tracks at the Rave ever ever to bucket your chucket for this year are Jerry Lee Lewis’ ‘As Long As I Live’, Gene Vincent’s ‘A Love ‘em and Leave ‘em Kinda Guy’ and George Jones ‘Revenoor Man’ ………New style wrist bands. Not something you might expect to get excited about, but a less irritating cloth style, half the size, and no sharp edges to slice through your sheets, partner, hair or body parts while you’re asleep…..OK, I’ll aim this at our fellow countryfolk. How many (other than me and Miss Aloha) see the name Ray Allen and automatically think ‘Damn silly arse’?.........How to locate your chalet when you arrive and are given your number. Walk to the middle of one of the chalet blocks. Stop. Look left and right. Stop. Walk three paces forward. Stop. Look left and right and up onto the first floor. Go to a different block and repeat. Return to first block and enter chalet you’ve been ten yards away from in the first place….As youngsters, we could get four of us in my escort with luggage. Now with everything, I can just about get June in and we need a wheelbarrow to transport everything from the car across to the chalet…….We’ve had an ongoing dislike of the gulls at Camber, but this year they surpassed themselves with the amount of guano they produced. I don’t think a single car escaped at least one seven inch diameter splat of gull crap this time. A couple of years ago, a Harris Hawk patrolled around the camp scaring them away. Now the gulls swoop around the Harris Hawk. Ruddy hooligans…..
Barny and the Rhythm Allstars
Silva service. Thursday night, it’s just the main ballroom for the live acts, and it was the French four-piece Barny and the Rhythm Allstars that took the stage first. Stood with their back to the audience to start with, Claude Placet’s lead guitar riff sounded familiar, and built in speed and volume. Yes it was Charlie Feathers’ ‘Stutterin’ Cindy’. Easy does it to start with before they all turned around and launched into the song. Really cool version of this rocker to start the Rave.
Barny Da Silva is your quintessential young rockin’ frontman, sharply attired, and strumming the bejesus out of his rhythm guitar. The set rocked from start to finish, much of it centred around the 2017 Wild Records CD ‘Young ‘n’ Wild’, which is by no means a bad thing! ‘Mary Sue’ rocks, as does ‘Janet’, ‘Oh Mama’, and ‘I Don’t Want to Be Like You’, plus the cover of Johnny Horton’s ‘Got The Bull By The Horns’.
Drenched in water, the jacket gone and hair all over the show, this is a lad that has rockabilly at his core, and with the All Stars, a band that is the perfect combo for his style. A breathless start to the weekend.
Barny Da Silva is your quintessential young rockin’ frontman, sharply attired, and strumming the bejesus out of his rhythm guitar. The set rocked from start to finish, much of it centred around the 2017 Wild Records CD ‘Young ‘n’ Wild’, which is by no means a bad thing! ‘Mary Sue’ rocks, as does ‘Janet’, ‘Oh Mama’, and ‘I Don’t Want to Be Like You’, plus the cover of Johnny Horton’s ‘Got The Bull By The Horns’.
Drenched in water, the jacket gone and hair all over the show, this is a lad that has rockabilly at his core, and with the All Stars, a band that is the perfect combo for his style. A breathless start to the weekend.
Colton Turner
Mmm Mellow Last year Colton Turner was an act that not many had heard before. Such was the impact he made, he was back for this year, with the Mellows. Looking dapper in his black silky western shirt, he presented a set that was in contrast to the previous one. Measured rhythms and smooth vocals, that are really effective. Much of the set was original material, and some of it not even recorded yet, a real hoot for this reviewer(!). ‘One Thousand Kisses’ or the song that had that lyric in it so often, if it’s not called that, it should be, was sublime. That’s going to be a hit once it’s been waxed. Similarly, listen out for ‘In Los Angeles’ too when that comes out.
There were a couple of covers as well, that need flagging up. Chuck Berry’s rarely heard bluesy number ‘Do You love Me’ with loads of whammy guitar from Colton’s brother, Zane. A really cool version of Hank Williams’ ‘There’ll Be No Teardrops Tonight also featured, and sounded ace slotted in among the originals.
There were a couple of covers as well, that need flagging up. Chuck Berry’s rarely heard bluesy number ‘Do You love Me’ with loads of whammy guitar from Colton’s brother, Zane. A really cool version of Hank Williams’ ‘There’ll Be No Teardrops Tonight also featured, and sounded ace slotted in among the originals.
Johnny Bach
He’s Bach Johnny Bach and the Moonshine Boozers, fronted by the venerable John Lewis, reformed again for the Rockabilly Rave, were up next. A typically frantic, wide eyed performance from John, mixing up reworkings of classic tunes set to different beats. Taking Gene’s ‘Be Bop a Lula’ as an example, which was given the Charlie Feathers beat and changed to ‘Lula Bop Be’.
Cliff Richard’s ‘Travelling Light’ has never sounded quite like this version, sand ‘Sugar Sugar’ has the ‘Mystery Train’ feel about it. Loved the embittered rendition of ‘Sam Hall’ (damn your eyes), and yet another, almost unhinged version of a classic, this time ‘Boppin’ The Blues’. The set was crowned with ‘The Mill’ before the raucous noise from the crowd brought him back on again for ‘Walking After Midnight’, to end a memorable set.
Cliff Richard’s ‘Travelling Light’ has never sounded quite like this version, sand ‘Sugar Sugar’ has the ‘Mystery Train’ feel about it. Loved the embittered rendition of ‘Sam Hall’ (damn your eyes), and yet another, almost unhinged version of a classic, this time ‘Boppin’ The Blues’. The set was crowned with ‘The Mill’ before the raucous noise from the crowd brought him back on again for ‘Walking After Midnight’, to end a memorable set.
Hi Jivers
Wild Treat. Finally, for Thursday, a real blue chip act, from Nashville, making their debut in the UK, The Hi Jivers. This four-piece, are Wild Records recording artists, and our appetites had been whetted by several YouTube and Bopflix videos, leading up to the show. Their vocalist is Dwana Zahn, looking fine in her black dress, with her fiancé, and phenomenal guitarist Austin John Doody on lead. In the rhythm section are regular bassist Hank Miles with Ricky McCann in on drums for the show.
The set was top drawer right from the start, with the cracking track ‘Hotwired Woman’, with Dawna’s voice sounding brilliant in a style akin to the most prominent female rhythm and blues ladies of the past. You want an idea? Well think Etta James, with maybe the powerhouse styles of Tiny Topsy and Big Maybelle, Willie Mae Thornton, and dare I suggest a little Janis Joplin?*. Something like that. Whatever, it’s commanding and accomplished, whether vocalising their own material or covers. Indeed, one of their single releases, features a simply sublime version of Billy Gayles ‘Just One More Time’, which was one of the many highlights of the performance.
As well as visually impressive, the musicianship is spot on, and we suggest you check out recordings like ‘Ol’ Feeling’, and ‘Bulletproof’ for confirmation. ‘Ol’ Feeling’ for example has a catchy riff throughout, and Austin’s guitar solo in this is effortlessly spectacular. In between, Dawna engaged with the audience with a y’all Nashville lilt, before launching into yet more quality sounds. ‘Get Me Wrong’, ‘Any Woman You Please’, ‘Always Talkin Down’ and the true foot stomper, ‘Sweet Talkin’ and Lyin’ and to end the show, Something’s Gotta Give’.
There was an expectation surrounding this show and boy did the Hi Jivers deliver. They’re back for the Rhythm Riot in November 2019. Don’t miss out
The set was top drawer right from the start, with the cracking track ‘Hotwired Woman’, with Dawna’s voice sounding brilliant in a style akin to the most prominent female rhythm and blues ladies of the past. You want an idea? Well think Etta James, with maybe the powerhouse styles of Tiny Topsy and Big Maybelle, Willie Mae Thornton, and dare I suggest a little Janis Joplin?*. Something like that. Whatever, it’s commanding and accomplished, whether vocalising their own material or covers. Indeed, one of their single releases, features a simply sublime version of Billy Gayles ‘Just One More Time’, which was one of the many highlights of the performance.
As well as visually impressive, the musicianship is spot on, and we suggest you check out recordings like ‘Ol’ Feeling’, and ‘Bulletproof’ for confirmation. ‘Ol’ Feeling’ for example has a catchy riff throughout, and Austin’s guitar solo in this is effortlessly spectacular. In between, Dawna engaged with the audience with a y’all Nashville lilt, before launching into yet more quality sounds. ‘Get Me Wrong’, ‘Any Woman You Please’, ‘Always Talkin Down’ and the true foot stomper, ‘Sweet Talkin’ and Lyin’ and to end the show, Something’s Gotta Give’.
There was an expectation surrounding this show and boy did the Hi Jivers deliver. They’re back for the Rhythm Riot in November 2019. Don’t miss out
Lobo Jones and the Rhythm Hounds
Here we are for the Friday Fry Up. This is the first full day proper, when the afternoon sessions start in the downstairs hall. This has undergone a revamp, with the carpet surrounding the dancefloor gone, the make shift chipboard extension to the dancefloor also in the bin. Now the whole floor is a uniform wooden affair and the stage appears wider and more conducive to the visually enthusiastic performers.
Release the Hounds First cab off the rank were Lobo Jones and the Rhythm Hounds, and English band we’d not seen before. A four piece with a young front man and some consummate musicians around him, perfect as the opening band. Their set consisted of some corking Rockabilly tracks, aided and abetted by the distinguished fretwork of Morgan Willis on lead guitar. Giving it some of the proverbial welly right from the get-go, we had a version of Derry Weaver’s ‘Itty Bitty Betty’, which gave an indication of the band’s style.
The Rockabilly version of ‘Worried ‘bout You Baby’ as in Maylon Humphries (other than the Crudup/Gains blues versions perhaps) impressed greatly as did both sides of the Sleazy Records 45rpm, ‘Haunt My Heart’ and Gene Summers’ ‘Baby Please Tell Me Why’ the first a slightly slower, and indeed evocative sound, the flip being a bass thump-ticking rocker. Rocking standard ‘Pretty Bad Blues’ got the Rhythm Hound treatment, as did ‘Mean Ol’ Frisco, which I think predated the whole show, coming from 1942.
With the crowd so into them, it was clear that Troy Shelton’s ‘Goodbye Little Darlin Goodbye’ (originally by Gene Autry in 1946), wasn’t going to be the end, and unsurprisingly the encore was the fitting Jackie Getroe’s ’58 Vortex cut, ‘Lobo Jones’. Top drawer stuff!
Release the Hounds First cab off the rank were Lobo Jones and the Rhythm Hounds, and English band we’d not seen before. A four piece with a young front man and some consummate musicians around him, perfect as the opening band. Their set consisted of some corking Rockabilly tracks, aided and abetted by the distinguished fretwork of Morgan Willis on lead guitar. Giving it some of the proverbial welly right from the get-go, we had a version of Derry Weaver’s ‘Itty Bitty Betty’, which gave an indication of the band’s style.
The Rockabilly version of ‘Worried ‘bout You Baby’ as in Maylon Humphries (other than the Crudup/Gains blues versions perhaps) impressed greatly as did both sides of the Sleazy Records 45rpm, ‘Haunt My Heart’ and Gene Summers’ ‘Baby Please Tell Me Why’ the first a slightly slower, and indeed evocative sound, the flip being a bass thump-ticking rocker. Rocking standard ‘Pretty Bad Blues’ got the Rhythm Hound treatment, as did ‘Mean Ol’ Frisco, which I think predated the whole show, coming from 1942.
With the crowd so into them, it was clear that Troy Shelton’s ‘Goodbye Little Darlin Goodbye’ (originally by Gene Autry in 1946), wasn’t going to be the end, and unsurprisingly the encore was the fitting Jackie Getroe’s ’58 Vortex cut, ‘Lobo Jones’. Top drawer stuff!
Tennessee Drifters
Driftin’ Sweden’s the Tennessee Drifters were up next, hang on a minute, under that hat is Jack Baymoore isn’t it? This trio has no drums, relying on the bass rhythm set by Michael Lith, with Big Andy on lead guitar. They play a mix of Cash and Hank stuff, plus some other bits and bats, in a really authentic style.
Here’s a quick song check to give you the gist of the set. Johnny Cash’s ‘So Doggone Lonesome’ opened the set, and was complemented by the likes of ‘Hey Porter’, ‘Luther Played the Boogie’, ‘Get Rhythm’ and ‘All Over Again’ to name a few. Hank’s ‘Setting the Woods on Fire’ hit the spot along with ‘Jambalaya’ and the Soggy Bottom Boys styled ‘In The Jailhouse Now’. Did you see them? Praise the Lord ‘I Saw The Light’ and did!
Here’s a quick song check to give you the gist of the set. Johnny Cash’s ‘So Doggone Lonesome’ opened the set, and was complemented by the likes of ‘Hey Porter’, ‘Luther Played the Boogie’, ‘Get Rhythm’ and ‘All Over Again’ to name a few. Hank’s ‘Setting the Woods on Fire’ hit the spot along with ‘Jambalaya’ and the Soggy Bottom Boys styled ‘In The Jailhouse Now’. Did you see them? Praise the Lord ‘I Saw The Light’ and did!
Howlin' Jaws
Howlin’ for ya. The Howlin’ Jaws from France, were a complete contrast. The three Parisians, are a powerhouse electric trio, incorporating thunderous drum and bass beats with searing guitar accompaniment. The style is a melting pot of Rock ‘n’ Roll, Garage with a bit of Beat and some Rockabilly. You get it?
A lot of the set was original material, ‘Cuttin’ Out’ for instance, was on a 45rpm, that has sold out. A no nonsense tune, loud and proud, and really set the stall out. ‘3 Days’ has an almost Indie sound, while ‘Comin’ Home’ takes no prisoners with it’s huge sound. ‘Sixteen Chicks’ did make and appearance for a bit of familiarity, before a medley finished off the set. Three completely different shows downstairs on the Friday afternoon.
A lot of the set was original material, ‘Cuttin’ Out’ for instance, was on a 45rpm, that has sold out. A no nonsense tune, loud and proud, and really set the stall out. ‘3 Days’ has an almost Indie sound, while ‘Comin’ Home’ takes no prisoners with it’s huge sound. ‘Sixteen Chicks’ did make and appearance for a bit of familiarity, before a medley finished off the set. Three completely different shows downstairs on the Friday afternoon.
The Ragtones
Más vale tarde que nunca Upstairs again starting with the Ragtones from Spain, another band we haven’t seen before, and we wondered if we’d get to see them at all, as their stage time came and went. Sure enough though, they came on just like the water supply(!). And boy were they worth waiting for as they set about presenting some grade A Rockabilly.
Hector Quientero is a charismatic front man, who writes a pretty good song as well, if you take ‘Run Around’ as an example in the set. Drummer Jesus Lopez also composes a fine Rockabilly song, taking ‘Just Need Avoid The Crowd’ as his input. The remaining personnel are, Jarke Jose Miguel on upright bass and Francis Beard on lead guitar.
There were a few covers, early on in the set ‘Mama’s Little Baby’ as in Junior Thompson’s Meteor Records tune from ’56, the popular instro ‘Cottin Pickin’ and Ben Hewitt’s Mercury beauty, ‘My Search’. Excellent stuff including a butt kicking encore of ‘Rockabilly Man’
Hector Quientero is a charismatic front man, who writes a pretty good song as well, if you take ‘Run Around’ as an example in the set. Drummer Jesus Lopez also composes a fine Rockabilly song, taking ‘Just Need Avoid The Crowd’ as his input. The remaining personnel are, Jarke Jose Miguel on upright bass and Francis Beard on lead guitar.
There were a few covers, early on in the set ‘Mama’s Little Baby’ as in Junior Thompson’s Meteor Records tune from ’56, the popular instro ‘Cottin Pickin’ and Ben Hewitt’s Mercury beauty, ‘My Search’. Excellent stuff including a butt kicking encore of ‘Rockabilly Man’
KC Byrd of the Barnstompers
Going Dutch. If ever there’s a more dependable band to delight a crowd than Dutch foursome, the Barnstompers, I haven’t seen them yet. Now with a new rhythm guitarist, lead singer K C’s son, to add to Larry, KC and Mannes. Their brand of Rockabilly meets Western Swing is just sublime, well they’ve been going for a while, haven’t they?
This set was superb, a veritable treasure chest of everything that is perfect about this genre of music. They opened with Jimmy C Newman’s ‘Alligator Man’, pitched slightly lower than the original, vocally, to great effect. Incorporating Larry as the answer voice on Lee Emerson and Marty Robbin’s ‘I’ll Know You’re Gone’, K.C. nailed the vocals.
There are tunes the Barnstompers perform regularly, and it’s this author’s expectation that they appeared in this set. Listening to Wiley Barkdull’s ‘Too Many’ is inspiring, while Redd Stewart’s ‘Yes I’ve Come Back To You’ was exquisite, as was Ferlin Huskey’s ‘I Will’. Another Marty Robbins track appeared, the ballad ‘Mister Teardrop’ from 1956. A lot of bands avoid ballads, however one performed such as this was, is a treat.
Speaking of treats, what about Larry doing ‘Careful Baby’? Or the super smooth ‘Whirlpool’ (Billy Walker) to which the audience were invited to assist with the vocal, thankfully most declined. Top that lot off with ‘If I Ever Find My Dreamgirl’ Doug Bragg’s obscurity from ’58, and you probably have a grasp of how this band sounded. Their CD ‘Showcase’ sold loads, check out our review of same from last year, over in the CD reviews section of the website
This set was superb, a veritable treasure chest of everything that is perfect about this genre of music. They opened with Jimmy C Newman’s ‘Alligator Man’, pitched slightly lower than the original, vocally, to great effect. Incorporating Larry as the answer voice on Lee Emerson and Marty Robbin’s ‘I’ll Know You’re Gone’, K.C. nailed the vocals.
There are tunes the Barnstompers perform regularly, and it’s this author’s expectation that they appeared in this set. Listening to Wiley Barkdull’s ‘Too Many’ is inspiring, while Redd Stewart’s ‘Yes I’ve Come Back To You’ was exquisite, as was Ferlin Huskey’s ‘I Will’. Another Marty Robbins track appeared, the ballad ‘Mister Teardrop’ from 1956. A lot of bands avoid ballads, however one performed such as this was, is a treat.
Speaking of treats, what about Larry doing ‘Careful Baby’? Or the super smooth ‘Whirlpool’ (Billy Walker) to which the audience were invited to assist with the vocal, thankfully most declined. Top that lot off with ‘If I Ever Find My Dreamgirl’ Doug Bragg’s obscurity from ’58, and you probably have a grasp of how this band sounded. Their CD ‘Showcase’ sold loads, check out our review of same from last year, over in the CD reviews section of the website
Marcel Riesco
Marc time. From California, it’s regular Rave-ee, Marcel Riesco, this time incorporating the skills of the Ray Allen band as backing. Brimming with confidence, and brandishing his trademark Silvertone guitar, it was like he was singing for all his friends. A genial fellow with a wink, a ‘My Boy My Boy’, a ‘Mercy’ and a grin for many in the audience his set was a delight from start to finish.
‘Let’s Get Goin’ was spot on, and mid-set he brought out Colton Turner for a duet. Unsurprisingly, it was a Roy Orbison track, ‘Claudette’, but with two voices harmonising, this rendition had the feel of the Everly Brothers. Massive reaction to that track I can tell you readers. Similarly ‘Long Time, No Love’ rocked along with the Ray Allen Band right there. The inclusion of a piano has added another dimension to Marcel’s music, and it’s really effective, especially on ‘Because He Broke Your Heart’, and ‘So Lonely Without You’.
The Roy Orbison material was limited I think probably due to the show upcoming the following evening, however ‘Move On Down The Line’ and ‘Blue Bayou’ made welcome appearances. ‘Paper Heart’ is smoothness personified,
A hugely popular show with the crowd who naturally wanted more, now what would it be, ‘Cast Iron Arm?’ no not this time, ‘Cat Called Domino’ rattled the rafters to end a memorable Rave set.
‘Let’s Get Goin’ was spot on, and mid-set he brought out Colton Turner for a duet. Unsurprisingly, it was a Roy Orbison track, ‘Claudette’, but with two voices harmonising, this rendition had the feel of the Everly Brothers. Massive reaction to that track I can tell you readers. Similarly ‘Long Time, No Love’ rocked along with the Ray Allen Band right there. The inclusion of a piano has added another dimension to Marcel’s music, and it’s really effective, especially on ‘Because He Broke Your Heart’, and ‘So Lonely Without You’.
The Roy Orbison material was limited I think probably due to the show upcoming the following evening, however ‘Move On Down The Line’ and ‘Blue Bayou’ made welcome appearances. ‘Paper Heart’ is smoothness personified,
A hugely popular show with the crowd who naturally wanted more, now what would it be, ‘Cast Iron Arm?’ no not this time, ‘Cat Called Domino’ rattled the rafters to end a memorable Rave set.
Darrel Higham
Late night Enforcement Heading for the witching hour with Darrel Higham and the Enforcers who we seem to see at every weekender we go to at the moment. He’s one of the few people to take on Herbie Smith’s ‘Baby Moon’, which seems to be the go to opening track in 2019, as it was here. Similarly, one of June’s favourite jive tunes Johnny and Jonie’s ‘Kee Ro Ryin’ gets the requisite Enforcer-ment, as did Eddie Daniels’ ‘I Wanna Know (Why You love Me So).
There’s a new CD out as well, on Foot Tapping Records, that I think premiered at this Rave, called ‘Bop Machine’, the title track of which got an outing. It has a ‘Sweet Love on my Mind’ Johnny Burnette vibe to it, which was a crowd pleaser. The CD also has a pretty good version of ‘Rockin Thru’the Rye too. Apparently ‘Brain Freeze’ is his daughters favourite track on the new release (or did he say the only one she likes?), and I can see this being a dancefloor stroll sensation.
Add in an authoritative take of Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’ and you have the essence of what the set was like. Massively popular with the crowd
There’s a new CD out as well, on Foot Tapping Records, that I think premiered at this Rave, called ‘Bop Machine’, the title track of which got an outing. It has a ‘Sweet Love on my Mind’ Johnny Burnette vibe to it, which was a crowd pleaser. The CD also has a pretty good version of ‘Rockin Thru’the Rye too. Apparently ‘Brain Freeze’ is his daughters favourite track on the new release (or did he say the only one she likes?), and I can see this being a dancefloor stroll sensation.
Add in an authoritative take of Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’ and you have the essence of what the set was like. Massively popular with the crowd
The Deltas
Nostalgic. Blimey, how long has it been since we last saw the Deltas? Think the first time I saw them was a at Caister in nineteen hundred and frozen to death. Here they were on the main stage at the Rave to close out the live acts for Friday. I’ll be honest readers, I never really got into that Neo sound of the 80’s even being there at the time, however, take nothing away from the energy of the lads, nigh on four decades later, as they blasted out Gene Maltais’ ‘Ragin’ Sea’ to start with.
‘Milk and Honey’ was slightly more restrained, before we were off again with the likes of ‘Boogie Disease’, a frantic version of Dr. Ross’ ’54 waxing on Sun. ‘Spellbound’ made the show, which was the flip side to the 45rpm from ‘81 ‘Heart Attack’, which curiously didn’t show up. ‘London Gals’ which closed the show, also brought on the nostalgia for the Nervous Records album from those years ago.
‘Milk and Honey’ was slightly more restrained, before we were off again with the likes of ‘Boogie Disease’, a frantic version of Dr. Ross’ ’54 waxing on Sun. ‘Spellbound’ made the show, which was the flip side to the 45rpm from ‘81 ‘Heart Attack’, which curiously didn’t show up. ‘London Gals’ which closed the show, also brought on the nostalgia for the Nervous Records album from those years ago.
The Hillbillies
The elephant in the room. OK readers, you might have heard that the water supply went off at the Pontins site, on more than one occasion. It gave people something else to talk about other than Beatle-gate last year, and being unable to flush the toilets, certainly put the ‘turd’ in Saturday. Eau dear. As a male, the world is my urinal, and I do get the predicament many were put in. If you’d just got lathered up in the shower and the water went off, sure you’d be p’d off and with every justification, once you’d stopped blaming everyone else in the chalet
Some of the criticism of ‘the Rave’ though is rather unfair, you can be sure Jerry Chatabox didn’t take the Marie Antoinette stance and say ‘Let them drink Coke’ (other beverages are available). True the hosts didn’t have an adequate back up plan, and that wasn’t their finest hour. I wondered if Geldof was organising a song for us.
I heard one attendee saying that if they ‘don’t do something soon I’m going to totally lose my shit’. Yeah, you might not want to do that, just yet methinks. Just log a complaint, actually most had complained and logged by the time the water was back on. Good for the pelvic floor muscles though.
Are the Hillbillies, Hillbillies? Saturday began downstairs with another French band we’d not encountered before, the Hillbillies. Now I wonder what you’d think they sound like? Us too, but wrong, completely different to anything hillbilly. Hailing from Dijon and Bourgogne, you have Crazy Dim on vocals and guitar Maggio on drums and Alex Terror on double bass. The set was a mix of classic and differing styles of rocking rhythms, and I have to flag up ‘Sober Man’s Blues’ from the transparent wax single from last year, as one of the many highlights.
So they switched between the Jiants’ ‘Tornado’ and Johnny Powers’ ‘Long Blonde Hair’ to bluesy numbers such as ‘Wildcat Tamer’ and ‘Shake Your Hips’, and ending the show with ‘Caledonia’. A varied and interesting blend I’m sure you will concur with readers. I’d also suggest you take in ‘The Last Tear’ as well. Tres bien.
Some of the criticism of ‘the Rave’ though is rather unfair, you can be sure Jerry Chatabox didn’t take the Marie Antoinette stance and say ‘Let them drink Coke’ (other beverages are available). True the hosts didn’t have an adequate back up plan, and that wasn’t their finest hour. I wondered if Geldof was organising a song for us.
I heard one attendee saying that if they ‘don’t do something soon I’m going to totally lose my shit’. Yeah, you might not want to do that, just yet methinks. Just log a complaint, actually most had complained and logged by the time the water was back on. Good for the pelvic floor muscles though.
Are the Hillbillies, Hillbillies? Saturday began downstairs with another French band we’d not encountered before, the Hillbillies. Now I wonder what you’d think they sound like? Us too, but wrong, completely different to anything hillbilly. Hailing from Dijon and Bourgogne, you have Crazy Dim on vocals and guitar Maggio on drums and Alex Terror on double bass. The set was a mix of classic and differing styles of rocking rhythms, and I have to flag up ‘Sober Man’s Blues’ from the transparent wax single from last year, as one of the many highlights.
So they switched between the Jiants’ ‘Tornado’ and Johnny Powers’ ‘Long Blonde Hair’ to bluesy numbers such as ‘Wildcat Tamer’ and ‘Shake Your Hips’, and ending the show with ‘Caledonia’. A varied and interesting blend I’m sure you will concur with readers. I’d also suggest you take in ‘The Last Tear’ as well. Tres bien.
Jake La Botz
We’ll take Jake. Jake La Botz from the USA was up next, singer, songwriter and actor (he played Reese, in Rambo for example) from Chicago. This was more of a blues session, with a tinge of humour when playing ‘I Asked Her For Water, She Brought Me Gasoline’, a song that I think was a last minute choice and topical to boot. A personal fave of mine was ‘Feel No Pain’, a somewhat slower tune, but delivered with measured emotion.
Wish I could recall the song about the comb later in the set, I really enjoyed it at the time. Jake was backed by Smokestack Lightning for this outing, all accomplished musicians who put on a super cool show
Wish I could recall the song about the comb later in the set, I really enjoyed it at the time. Jake was backed by Smokestack Lightning for this outing, all accomplished musicians who put on a super cool show
Fitting tribute. Then followed the Keith Turner tribute. One of the rockin’ scene’s masters and a real gent, as well as a damn fine performer, whether it was Hi Voltage, The Fret Tones or Southern Sound. This featured a myriad of performers from Scotland and several other points on the globe, all introduced by Lynn, Keith’s wife. Kenny Tomlinson bouncing around in the audience blowing up a sax storm with audience participation (physically and vocally) lit the blue touchpaper with ‘Tequila’. Mary Ann opened the show on stage with the touching ‘Life Goes On’ written by Keith, and in tribute to one of his bands, Hi Voltage, the song of that name.
Now do I name and song check everyone? Oh Ok then, Ian Morris (former Hi Voltage drummer) ‘Smoke That Cigarette’, Tennessee Hotshot Pat with ‘Mess of the Blues’, Emma Nelson ‘C’mon Pretty Baby’, Mons Wheeler ‘Down By The Bay’, John Miller ‘Ubangi Stomp’, Lew Lewis ‘Blue Days Black Nights’, Tracey (Rusty Riot) Dewar belting out ‘I Can’t Stop Loving’, Jack Baymoore ‘You’re Right I’m Left She’s Gone’, Wildfire Willie (and audience) ‘Loch Lommond’, Big Sandy with ‘Kaw Liga’ and to top it all off in the finest style, Tennessee Hotshot Sy, with the thumping ‘Shake Rag Boogie’. Smashing stuff
Now do I name and song check everyone? Oh Ok then, Ian Morris (former Hi Voltage drummer) ‘Smoke That Cigarette’, Tennessee Hotshot Pat with ‘Mess of the Blues’, Emma Nelson ‘C’mon Pretty Baby’, Mons Wheeler ‘Down By The Bay’, John Miller ‘Ubangi Stomp’, Lew Lewis ‘Blue Days Black Nights’, Tracey (Rusty Riot) Dewar belting out ‘I Can’t Stop Loving’, Jack Baymoore ‘You’re Right I’m Left She’s Gone’, Wildfire Willie (and audience) ‘Loch Lommond’, Big Sandy with ‘Kaw Liga’ and to top it all off in the finest style, Tennessee Hotshot Sy, with the thumping ‘Shake Rag Boogie’. Smashing stuff
Dylan Kirk
Oi DJ. Cripes some DJs take some stick don’t they (rhetorical question). I can see where people are coming from with sets, like one we heard, choc full of R&B. Not one Rockabilly record. Now we love R&B, and we love Rockabilly, and sure mix it up from time to time. If you go to a curry night you don’t want to be served chicken and chips, even if you like chicken and chips. However, I’ll flag up the DJs we saw/heard, who played some ace stuff. Be Bop Kaz kept it real as did Blip Blop, Andreas Wanderer, Jimmy Guntrip, in the main ballroom, Double Trouble downstairs, Sharkey in the Vic, Little Carl and Rudy upstairs late night.
David Peters, we’d not encountered before, but he played a couple of cracking sets including the last one on Sunday in the ballroom. Danny Brown upstairs, Danny from Spain in the downstairs and Tojo in both venues. Think that’s who we saw.
Strings and Keys Upstairs on Saturday night, and a real classy line up with Rave flyer/poster boy Dylan Kirk and the Killers, a talented musician on piano and guitar, with a flat top like ‘do’ akin to what I had, when I could, if you get the drift. So he started on the piano with such pumping rockers as ‘Ain’t Gonna Do It’ and ‘Indian Joe’, with the bass rattling ‘Got No Money’ and the explosive ‘Rollin’ Dynamite’ vying for attention.
Switching instruments, ‘Monkey Beat’ and ‘Down The Line’ were both well received as were ‘Wolfman’ and ‘John Henry’ back on the eighty eight keys. A song that drew a massive cheer was the now anthemic bop tune, ‘Senior Class’ with the Phantom’s ‘Love Me’ rounding off an impressive Rave debut for this young fella.
David Peters, we’d not encountered before, but he played a couple of cracking sets including the last one on Sunday in the ballroom. Danny Brown upstairs, Danny from Spain in the downstairs and Tojo in both venues. Think that’s who we saw.
Strings and Keys Upstairs on Saturday night, and a real classy line up with Rave flyer/poster boy Dylan Kirk and the Killers, a talented musician on piano and guitar, with a flat top like ‘do’ akin to what I had, when I could, if you get the drift. So he started on the piano with such pumping rockers as ‘Ain’t Gonna Do It’ and ‘Indian Joe’, with the bass rattling ‘Got No Money’ and the explosive ‘Rollin’ Dynamite’ vying for attention.
Switching instruments, ‘Monkey Beat’ and ‘Down The Line’ were both well received as were ‘Wolfman’ and ‘John Henry’ back on the eighty eight keys. A song that drew a massive cheer was the now anthemic bop tune, ‘Senior Class’ with the Phantom’s ‘Love Me’ rounding off an impressive Rave debut for this young fella.
Miss Mary Ann
Mustn’t miss Mary. Another Rave regular making a welcome return to the main stage, was the Dutch combo, Miss Mary Ann and the Ragtime Wranglers. Joe Sixpack on lead guitar, Sietse Hesliger on drums and Huey Moor on bass, make up the band with Miss Mary Ann’s distinctive vocals out front. This was a good ‘un folks, with ‘Can’t Stop Loving You’ opening up with ‘Blues Come Around’ hot on the heels.
I’ve always enjoyed their versions of Rex Allen’s ‘Knock Knock Rattle’, Wayne Walker’s ‘Little Ole You’ and Rose Maddox’s ‘Hey Little Dreamboat’, and they featured in the set. I think ‘The Beau From Tupelo’ and ‘Lover Please’ are on a single though I can’t be sure, someone yelled in my ear as the announcement was being made! Whichever, those two tracks sandwiched ‘Blue Days Black Nights’. ‘Mama’s Here’ is a real rocker that has been one of the band’s mainstays for some years, and ‘I Got Stung’ was a surprise. A very versatile and varied set.
I’ve always enjoyed their versions of Rex Allen’s ‘Knock Knock Rattle’, Wayne Walker’s ‘Little Ole You’ and Rose Maddox’s ‘Hey Little Dreamboat’, and they featured in the set. I think ‘The Beau From Tupelo’ and ‘Lover Please’ are on a single though I can’t be sure, someone yelled in my ear as the announcement was being made! Whichever, those two tracks sandwiched ‘Blue Days Black Nights’. ‘Mama’s Here’ is a real rocker that has been one of the band’s mainstays for some years, and ‘I Got Stung’ was a surprise. A very versatile and varied set.
Big Sandy and the Flyrite Boys
Big ticket event. Like some fine wines and spirits, Big Sandy and the Flyrite Boys, get better with age. Here they were again gracing the Rave main stage, another act that seem like they’re playing at a party for all their friends that we are all cordially invited to. Last time out, it was drummer Ricky McCann’s last gig with the band, but he was back in the hot seat for this gig. Keeping rhythm also was the ever-smiling Kevin Stewart on upright bass, and ex-pat geezer Ashley Kingman on guitar (thankfully fit again and looking well). Big Sandy on acoustic guitar, well turned out in his now trademark black suit, is one of the Rock n Roll scene’s true gentlemen. If he’s not on stage he’s down the front cheering on other acts, and chillin’ with the rest of us. Now he was taking care of business onstage.
Straight ahead into the set we all went with ‘Hey Lowdown’ which scarily was released nigh on twenty years ago, but not half as scary as knowing the next track, ‘Hold Me’ is over a quarter of a century old. Both sound as fresh as if they come out last week. It’s difficult, and not entirely necessary really, to pick a favourite Flyrite track, but if pushed it would be ‘Heaven is the Other Way’ or ‘Love That Man’, so this author was well pleased when both featured in the set.
There was a top drawer 45rpm released on Ruby Records a couple of years ago, with ‘Fine Fine Superfine’ on one side and ‘Everytime’ on the flip. Both were showcased in this show, along with the slowy ‘Here Comes the Bride’ and the ever popular ‘Chalk It Up To The Blues’.
Now that’s what excellence sounds like!
Straight ahead into the set we all went with ‘Hey Lowdown’ which scarily was released nigh on twenty years ago, but not half as scary as knowing the next track, ‘Hold Me’ is over a quarter of a century old. Both sound as fresh as if they come out last week. It’s difficult, and not entirely necessary really, to pick a favourite Flyrite track, but if pushed it would be ‘Heaven is the Other Way’ or ‘Love That Man’, so this author was well pleased when both featured in the set.
There was a top drawer 45rpm released on Ruby Records a couple of years ago, with ‘Fine Fine Superfine’ on one side and ‘Everytime’ on the flip. Both were showcased in this show, along with the slowy ‘Here Comes the Bride’ and the ever popular ‘Chalk It Up To The Blues’.
Now that’s what excellence sounds like!
Jack Baymoore
Rock of the Bay. So who could possibly follow on after that? Well, Jack Baymoore and the Bandits brought their Swedish Rockabilly style back to the main stage. A different style, a different vocal cadence, and top banana it was too, as the first bars of the Surf Riders’ ‘I’m Out’ had the crowd jumping. ‘Drunk Tank Boogie’ maintained the pace with it’s call and answer backing.
Keeping the vibe going ‘Okie Lou’, ‘I’m Gone’ and ‘Joanne’. Some covers that got the Bandit treatment to great effect were ‘All I Can Do is Cry’, ‘One Hand Loose’ ‘Tag Along and ‘Love Me All The Time’. Officially, ‘Fireball Roberts’ was supposed to end the set, a real tear up of a tune, but the crowd were having none of it, as they were brought back for Pat Cupp’s ‘Do Me No Wrong’ and the latter day seminal classic ‘AV8 Boogie’. Oh yeah folks, Utmärkt
Keeping the vibe going ‘Okie Lou’, ‘I’m Gone’ and ‘Joanne’. Some covers that got the Bandit treatment to great effect were ‘All I Can Do is Cry’, ‘One Hand Loose’ ‘Tag Along and ‘Love Me All The Time’. Officially, ‘Fireball Roberts’ was supposed to end the set, a real tear up of a tune, but the crowd were having none of it, as they were brought back for Pat Cupp’s ‘Do Me No Wrong’ and the latter day seminal classic ‘AV8 Boogie’. Oh yeah folks, Utmärkt
The Paladins
Long time coming Rounding of Saturday night, The Paladins, for many the reason for booking and staying around to the small hours for. A trio originally formed in 1980, running until 2005, then reforming in 2014, they got a rowdy reception taking on Thomas Wayne’s ‘You’re The One That Done It’. This sounded a more ‘low down’ version than the original, and it hit the spot with the crowd from the get go.
Then there was the dual voices of Thomas Yearsley and Dave Gonzalez in ‘Tore Up From The Floor Up’, a three minute rocker, rowdily cheered. ‘Get On The Right Track Baby’ as in Joe Clay, also delighted the audience and definitely you need to check out ‘Hot Rod Rockin’, another duet in the set. The Paladins know how to rock one in the morning
Then there was the dual voices of Thomas Yearsley and Dave Gonzalez in ‘Tore Up From The Floor Up’, a three minute rocker, rowdily cheered. ‘Get On The Right Track Baby’ as in Joe Clay, also delighted the audience and definitely you need to check out ‘Hot Rod Rockin’, another duet in the set. The Paladins know how to rock one in the morning
MC Del Villarreal
Mo Raving dot….dot Some more best tracks in the world ever ever to turn your taps on at the Rave are Vernon Derrick’s ‘Seven Come Eleven’, Heulyn Duvall’s ‘Teen Queen’ and Hal Harris’ ‘Jitterbop Baby’. Yes I know I bang on about it every year, but this year we heard it all over the place YAY! If anyone asks what Rockabilly is, that’s it! ……..The Watergate affair, it’s a chill wind that blows no good, it’s given Jerry plenty of material for next year’s program. One idea I’d thought of, but I’ll hold off on that one, as it will most like form most of the 2020 booklet…..Those on social media rattling on about the water, many of which weren’t actually there, pipe down (pun intended)…… Daftest comment ‘That’s why I don’t go anymore’ Counting the Riot as well as the Rave, June has been to 45 events at the same site, and this was unprecedented, so it can’t be…….*At this point I’d like to welcome everyone back who has been emailing the Rave office in disgust that I mentioned a female artists from the 60’s……At this point I’d like to welcome everyone back who has been rereading the article to find the female from the 60’s I mentioned…..As usual the stage ran like clockwork, the sound guys know their stuff, DJ Del Villareal, articulate on the microphone (get him a portable one like Russ Sear downstairs, poor guy will hurt his back bending over to stage mics) and new stage manager Ruby Ann, who must have a job akin to herding kittens back there……I know I know, enough poo and water jokes already!......We rarely go into the Vic for bands, we are too short to see what’s going on……It’s ironic that other wildlife in the chalets took second place to the water shortage, fungi, slugs, gulls, badgers even ants, so make the Harris Hawk and the Aardvark redundant……Have to flag up the versatility of sax man Kenny Tomlinson, who effortlessly switches between styles and fits well into just about any band combination…….
The Ray Allen Band
Ray of sunshine Sunday already, and the last of the downstairs sessions with the Ray Allen Band from Germany playing in their own right. Every now and then readers, there’s a band that stands out even among the brilliance you get at the Rave. This year, for me it was these guys, and it’s only the second time we have seen them live (previously at Atomic). So with the bleary eyed Sunday post boot-salers in the house, they launched into ‘At the TV Hop’, and then their own inventively titled ‘Belly Button Baby’, a cool piano driven jiver.
Suddenly the hall was almost full for a trio of covers, ‘Lover Boy’, ‘Blue Black Hair’ and ‘Hot Rod’. Sharply dressed in white jackets and blue pegs, they not only looked the part, but played it too. Milton Allen’s ‘Just Look Don’t Touch, She’s Mine’ is perfectly suited to the band, and perfectly delivered too. And they even squeezed ‘Please Mama Please’ in there too. It was party time in the room as everyone joined in with Sonny Burgess’ ‘Ain’t Got a Thing’, before a rattling rendition of Link’s ‘Run Chicken Run’. They sold a barrowload of CDs and stuff at the end, quite right too.
Suddenly the hall was almost full for a trio of covers, ‘Lover Boy’, ‘Blue Black Hair’ and ‘Hot Rod’. Sharply dressed in white jackets and blue pegs, they not only looked the part, but played it too. Milton Allen’s ‘Just Look Don’t Touch, She’s Mine’ is perfectly suited to the band, and perfectly delivered too. And they even squeezed ‘Please Mama Please’ in there too. It was party time in the room as everyone joined in with Sonny Burgess’ ‘Ain’t Got a Thing’, before a rattling rendition of Link’s ‘Run Chicken Run’. They sold a barrowload of CDs and stuff at the end, quite right too.
Tennessee Hotshots
Hot stuff. Good to see the Tennessee Hotshots down from Scotland. This trio have gone from strength to strength with their no-nonsense approach to Rockabilly. Marty, Paddy and Sy, from Glasgow, are a versatile band, as their set list attests. They have a knack for covering songs with their own little twist to set them apart from a basic note for note copy.
Jerry Reed’s ‘When I Found You’, was a triumph, and ‘Wildcat Tamer’, ‘Mister Whizz’ and ‘Lovers Rock’ should give you an idea of how well they can mix up the timbres. Good to hear the two sides of their Rampage Records 45, ‘Rock ‘n’ Roll Rampage’ and the flip ‘Ain’t Misbehavin’. Then they tear it up with an authoritative take on The Sonics ‘Shot Down’ (shh it’s from the 60’s), or get the jiving going with ‘Seven Nights to Rock’ or slow it down with ‘Flat Tyre’ Sy’s vocals are great as is Marty’s guitar picking and Paddy in the engine room on drums. Cool beans
Jerry Reed’s ‘When I Found You’, was a triumph, and ‘Wildcat Tamer’, ‘Mister Whizz’ and ‘Lovers Rock’ should give you an idea of how well they can mix up the timbres. Good to hear the two sides of their Rampage Records 45, ‘Rock ‘n’ Roll Rampage’ and the flip ‘Ain’t Misbehavin’. Then they tear it up with an authoritative take on The Sonics ‘Shot Down’ (shh it’s from the 60’s), or get the jiving going with ‘Seven Nights to Rock’ or slow it down with ‘Flat Tyre’ Sy’s vocals are great as is Marty’s guitar picking and Paddy in the engine room on drums. Cool beans
Ian Cal-Ford
Braking point. Last of the main ballroom starting with Ian Cal Ford and the Brakemen. Ian making a ‘comeback’ after several years away, had Andy Sykes on bass and Chris Cummings on steel and lead guitar (depending on the song!). The first few songs, were Johnny Cash covers, and jolly good ones they were too. The sound was spot on, an authenticity that was awesome to hear.
As well as that, he engaged with the audience throughout and for many it was like he’d not been away as we took on Cash classics such as ‘Cry Cry Cry’, ‘So Doggone Lonesome’, ‘Mean Eyed Cat’, ‘When Luther Played the Boogie’ and a lesser heard/covered tracks ‘Blue Train’, ‘Sugartime’ and ‘Country Boy’. Not sure if this was attribute show, there was some other stuff. What it was though was the bizzo!
As well as that, he engaged with the audience throughout and for many it was like he’d not been away as we took on Cash classics such as ‘Cry Cry Cry’, ‘So Doggone Lonesome’, ‘Mean Eyed Cat’, ‘When Luther Played the Boogie’ and a lesser heard/covered tracks ‘Blue Train’, ‘Sugartime’ and ‘Country Boy’. Not sure if this was attribute show, there was some other stuff. What it was though was the bizzo!
The Country Side of Harmonica Sam
Look out. The Country Side of Harmonica Sam have had one of the dancefloor hits of the past couple of years with their reworking of Coy Johnson’s ‘Look Out Heart’. Here they were making their return to the Rave, this time on the main stage and in slightly less heat than the last time they played downstairs.
Their unique crossover style, they can be seen at country as well as Rockabilly events, means that their honk Tonkin is massively popular. And it’s so well performed by five musicians on top of their game. Harmonica Sam himself, takes all the lead vocals, but incorporates band mates for harmonies, particularly Johan Bandling Melin, the lead guitarist, like on the Johnny and Jonie Mosby’s ‘I’ll leave The Front Door Open’ which fired the starting pistol.
Loving Ferlin Huskey’s ‘I Will’, and the gorgeous ramble of ‘We Have Strayed So Far Away’. They’ve also taken on a Marcel Riesco composition ‘I’ve Been Draggin’ Since You’re Gone’, and it sounds spectacular. I’ve got to flag up Peter Anderson’s exquisite steel guitar work throughout, complemented by Ulrick Jansen and Patrik Malmros on bass and drums accordingly. Of course just about everyone wanted to hear ‘Look Out Heart’ and that concluded the show to a massive cheer. They came back for ‘Patches on My Heart’ (Sonny Burns I think), and I think people would have been happy if they’d played another hour.
Their unique crossover style, they can be seen at country as well as Rockabilly events, means that their honk Tonkin is massively popular. And it’s so well performed by five musicians on top of their game. Harmonica Sam himself, takes all the lead vocals, but incorporates band mates for harmonies, particularly Johan Bandling Melin, the lead guitarist, like on the Johnny and Jonie Mosby’s ‘I’ll leave The Front Door Open’ which fired the starting pistol.
Loving Ferlin Huskey’s ‘I Will’, and the gorgeous ramble of ‘We Have Strayed So Far Away’. They’ve also taken on a Marcel Riesco composition ‘I’ve Been Draggin’ Since You’re Gone’, and it sounds spectacular. I’ve got to flag up Peter Anderson’s exquisite steel guitar work throughout, complemented by Ulrick Jansen and Patrik Malmros on bass and drums accordingly. Of course just about everyone wanted to hear ‘Look Out Heart’ and that concluded the show to a massive cheer. They came back for ‘Patches on My Heart’ (Sonny Burns I think), and I think people would have been happy if they’d played another hour.
Marcel Riesco
|
Mons Wheeler
|
The O zone. The Rave has a tradition of presenting the best tributes to some of Rockabilly music’s pioneers, and this year it was the Big ‘O’, Roy Orbison. So who do you reckon fits that bill, hmmm, I wonder, Marcel Riesco perhaps? Yep and also the exceptional vocal talents of Mons Wheeler. Originally there were other guests down to perform, but that didn’t materialise. So it was a fifty-fifty split between the two vocalists backed by Darrel Higham on lead guitar, Bob Cotton on bass and Paul Richardson on drums.
I think many’s introduction to Roy’s rockin side may well have been ‘Domino’, so it was good to hear that early doors, that and ‘Ooby Dooby’. ‘Move On Down The Line’ truly rocked out. The seldom heard (unless you go and see Marcel) is the 1961 cracker ‘Problem Child’, and that got an outing as well. The addition of Dylan Kirk on piano gave ‘Mean Little Mama’ an added dimension, while ‘Sweet and Easy’ was sublime.
Next up, Mons Wheeler, with a super take on ‘I Was a Fool’, then bringing sax meister Kenny Tomlinson on for the cool ramble that was ‘Uptown’. Then the stage emptied, save for Mons and his acoustic guitar. What followed was the awesome ‘Crying’. My goodness it must take some testicular fortitude to stand in front of a thousand or more Big O lovers and perform one of his most recognisable hits, solo. On came the baking again for ‘Sweet Dream Baby’ and ‘Claudette’ which had everyone around me harmonising, with varying degrees of success.
There’s been some top drawer tributes at the Rave on Sunday nights, this was up there with the best
I think many’s introduction to Roy’s rockin side may well have been ‘Domino’, so it was good to hear that early doors, that and ‘Ooby Dooby’. ‘Move On Down The Line’ truly rocked out. The seldom heard (unless you go and see Marcel) is the 1961 cracker ‘Problem Child’, and that got an outing as well. The addition of Dylan Kirk on piano gave ‘Mean Little Mama’ an added dimension, while ‘Sweet and Easy’ was sublime.
Next up, Mons Wheeler, with a super take on ‘I Was a Fool’, then bringing sax meister Kenny Tomlinson on for the cool ramble that was ‘Uptown’. Then the stage emptied, save for Mons and his acoustic guitar. What followed was the awesome ‘Crying’. My goodness it must take some testicular fortitude to stand in front of a thousand or more Big O lovers and perform one of his most recognisable hits, solo. On came the baking again for ‘Sweet Dream Baby’ and ‘Claudette’ which had everyone around me harmonising, with varying degrees of success.
There’s been some top drawer tributes at the Rave on Sunday nights, this was up there with the best
Jamesons Gentlemen
Multi national Finally, a real melting pot with Jamesons Gentlemen featuring artists from (wait for it) Sweden, Germany, Switzerland, Czech Republic, Italy and Australia. I’ll be honest folks, this had the feel of near the end of a jam session on an open mic night, with different vocalists taking on different songs and adlibbing the breaks. Not that it didn’t impress those that had stuck around, with the likes of ‘Pucker Paint’ a rarely heard version of Tooter Boatman’s ‘Thunder and Lightning’ ‘Bop a Lena’, ‘Let’s get Wild’ (with the daftest lyrics ever ever in a Rockabilly song), ‘Justine’ and the inventively titled ‘Dog My Cat’.
So concluded the twenty third Rockabilly Rave, with a few of the bands already slate for No.24. The usual bleary eyed Monday morning vehicle pack took place all over the camp, people waved to each other as they left, only to realise it was the first time they’d seen each other the whole weekend. Well done to JCB and his staff for keeping the event on an even keel, while Watergate was raging on social media.
This time next year? Be rude not to
© Andrew Smith, June Smith, The Bettajive Review, June 2019
Have you enjoyed what you've read and seen? If so, how about popping a donation over to us by using the button below. Thanks muchly
So concluded the twenty third Rockabilly Rave, with a few of the bands already slate for No.24. The usual bleary eyed Monday morning vehicle pack took place all over the camp, people waved to each other as they left, only to realise it was the first time they’d seen each other the whole weekend. Well done to JCB and his staff for keeping the event on an even keel, while Watergate was raging on social media.
This time next year? Be rude not to
© Andrew Smith, June Smith, The Bettajive Review, June 2019
Have you enjoyed what you've read and seen? If so, how about popping a donation over to us by using the button below. Thanks muchly
Hemsby #62
Fat 'n' Furious
Hemsby #62
Review by Andrew Smith
They say never say never. Well whoever ‘they’ are, were correct as for the first time in six years we were back at Hemsby Rock n Roll Weekender. There’s been seismographic changes at Hemsby since last we attended, both visually and indeed in management.
The camp owners, Richardson’s, have invested massively in the campsite, with new accommodation, no more teds-in-beds-in-sheds, and refurbished facilities. In fact, returning to the flats where we used to stay, it was like the reveal on DIY SOS when we walked in. Gone are the bowl-shaped beds, and the tired furniture, replaced by contemporary décor and fixtures, and a shower with as much power as a Karcher power washer (other brands of power washers are available).
Gone is the main ballroom as most recall it, and the sunken floor in the smaller hall is now completely level with the rest of the area. This is the Harlequin Show Bar, where all the live acts were performing. Down the road in the Yacht Club, the stalls set up, and DJs played sets to offer an alternative environment, to the main event.
This is now Bill Guntrip’s, Guntrip Enterprises weekender, and he along with his family, put on a stellar line-up for the punters, which on arriving Friday afternoon, seemed encouragingly plentiful. The evening started in the Harlequin with local lads, Fat ‘n’ Furious, one of Dave ‘Porky’ Coates’ incarnations, with Tim Read on bass and Mike Waters bashing the bejesus out of the drums, and Toby, an exceptional young talent on guitar. It’s the first time we’d seen this particular band, and other than a few vids on the internet. So, what’s this ‘Rockabelly’ like then.
With his usual infectious enthusiasm, Porky greeted the crowd and started to lob little gold cardboard boxes out into the room, although presenting one to June with decorum. These contained balloons, blow-ticklers and party poppers, which were soon returned, with interest, to the stage (if you get my meaning). The band started the show ‘with a bit of surf if you don’t mind’, as they launched into a commanding instrumental called ‘Kampai Osoka’, which stands with your classic Dick Dale sounds, and sounded like it had just arrived on the crest of a beach break. That segued into ‘Miserlou’, as in the afore mentioned Mr Dale.
If you can imagine some classic Rock n Roll and Rockabilly, played with an injection of high-octane gas, you get a feel for Fan n Furious’ style, as ‘Your Baby Blue Eyes’ and ‘Crawdad Hole’ got the FnF treatment. Their own self-titled tune is a good one, before we got Frankie Ford’s ‘Sea Cruise’ that came with the caveat that it ‘sounds nothing like this’.
The band’s own material ‘King of the Asylum’ and a different take on ‘Alligator Man’ got an outing in between some of the covers, with the set concluding with, what must count as a Hemsby anthem with the number of times he’s been here, Art Adams’ ‘Dancing Doll’. Rowdy cheers brought them back for a blistering ‘Good Golly Miss Molly’. A breathless start to the weekend.
Review by Andrew Smith
They say never say never. Well whoever ‘they’ are, were correct as for the first time in six years we were back at Hemsby Rock n Roll Weekender. There’s been seismographic changes at Hemsby since last we attended, both visually and indeed in management.
The camp owners, Richardson’s, have invested massively in the campsite, with new accommodation, no more teds-in-beds-in-sheds, and refurbished facilities. In fact, returning to the flats where we used to stay, it was like the reveal on DIY SOS when we walked in. Gone are the bowl-shaped beds, and the tired furniture, replaced by contemporary décor and fixtures, and a shower with as much power as a Karcher power washer (other brands of power washers are available).
Gone is the main ballroom as most recall it, and the sunken floor in the smaller hall is now completely level with the rest of the area. This is the Harlequin Show Bar, where all the live acts were performing. Down the road in the Yacht Club, the stalls set up, and DJs played sets to offer an alternative environment, to the main event.
This is now Bill Guntrip’s, Guntrip Enterprises weekender, and he along with his family, put on a stellar line-up for the punters, which on arriving Friday afternoon, seemed encouragingly plentiful. The evening started in the Harlequin with local lads, Fat ‘n’ Furious, one of Dave ‘Porky’ Coates’ incarnations, with Tim Read on bass and Mike Waters bashing the bejesus out of the drums, and Toby, an exceptional young talent on guitar. It’s the first time we’d seen this particular band, and other than a few vids on the internet. So, what’s this ‘Rockabelly’ like then.
With his usual infectious enthusiasm, Porky greeted the crowd and started to lob little gold cardboard boxes out into the room, although presenting one to June with decorum. These contained balloons, blow-ticklers and party poppers, which were soon returned, with interest, to the stage (if you get my meaning). The band started the show ‘with a bit of surf if you don’t mind’, as they launched into a commanding instrumental called ‘Kampai Osoka’, which stands with your classic Dick Dale sounds, and sounded like it had just arrived on the crest of a beach break. That segued into ‘Miserlou’, as in the afore mentioned Mr Dale.
If you can imagine some classic Rock n Roll and Rockabilly, played with an injection of high-octane gas, you get a feel for Fan n Furious’ style, as ‘Your Baby Blue Eyes’ and ‘Crawdad Hole’ got the FnF treatment. Their own self-titled tune is a good one, before we got Frankie Ford’s ‘Sea Cruise’ that came with the caveat that it ‘sounds nothing like this’.
The band’s own material ‘King of the Asylum’ and a different take on ‘Alligator Man’ got an outing in between some of the covers, with the set concluding with, what must count as a Hemsby anthem with the number of times he’s been here, Art Adams’ ‘Dancing Doll’. Rowdy cheers brought them back for a blistering ‘Good Golly Miss Molly’. A breathless start to the weekend.
Charlie Hightone and the Rock-Its
Next on from Spain, a returning Hemsby favourite, Charlie Hightone and the Rock-its. With a chunky headcount now in the room, this four piece presented some top-class Rockabilly. Charlie has a particular vocal style, slightly higher pitch, with your classic Rockabilly hiccups, set to a chunky, bouncing beat, by a band totally in sync.
So much here has become familiar, latter day Rockabilly anthems, the most popular I guess by audience reaction, being ‘Dead End Track’, ‘Hangover Blues’ and ‘Booze, Booze, Booze’, however it doesn’t end there. One of my particular favourites, ‘Baby Behave’ featured mid-set, and the Spanish language, rather sinister sounding (musically) ‘No Esta Bien, which has a kind of ‘Whatcha Gonna Do’ feel about it.
‘Bop a Little, ‘Double Trouble Road’ and the cracking bopper ‘Juke Joint Man’ were a trio of delights, in a set that has the audience loudly voicing their approval. Charlie, in his black jacket and red pegs ensemble, gives an energetic performance throughout, and also given his slightly shorter stature, ‘Small But Loud’ sums it up perfectly. Two encores followed, deservedly so, as this was a corker of a show.
So much here has become familiar, latter day Rockabilly anthems, the most popular I guess by audience reaction, being ‘Dead End Track’, ‘Hangover Blues’ and ‘Booze, Booze, Booze’, however it doesn’t end there. One of my particular favourites, ‘Baby Behave’ featured mid-set, and the Spanish language, rather sinister sounding (musically) ‘No Esta Bien, which has a kind of ‘Whatcha Gonna Do’ feel about it.
‘Bop a Little, ‘Double Trouble Road’ and the cracking bopper ‘Juke Joint Man’ were a trio of delights, in a set that has the audience loudly voicing their approval. Charlie, in his black jacket and red pegs ensemble, gives an energetic performance throughout, and also given his slightly shorter stature, ‘Small But Loud’ sums it up perfectly. Two encores followed, deservedly so, as this was a corker of a show.
Ed's quiet tonight!
Finally, for Friday, the familiar sight for UK rockers, the Revolutionares. But wait, this is going to be so different from a normal Revs show. Lead singer Eddie Stephenson, had undergone throat surgery and was/is unable to sing. So here we go with a couple of instrumentals, with the Mar-Keys’ ‘Last Night’ and ‘Miserlou’, before they brought a special guest vocalist out.
Miss Mary Ann, a fellow North East lass, has a super powered voice, and can take on some of the lady blues songs with consummate ease. Starting with Maria Knight’s ‘I Thought I Told You Not To Tell Her’ and ‘Seventeen’, which was like the Fontaine Sisters ’55 version, and Lula Reed’s ‘I Upset You Baby’. Standout for me, always during a Miss Mary set, is her cover of Damita Jo’s ‘Mister Blues’. This is a song perfectly suited to Mary’s voice and with the Revolutionaires en-point with the backing, the result was outstandingly excellent.
Although poor Ed couldn’t even shout ‘Tequila’ during them playing that tune, it didn’t detract from what was an ace set. We had boogie-woogie piano and a guitar driven blues bopper instrumental, and Mary finishing it all of with Dolly Cooper’s ‘My Man’. Odd not hearing the likes of ‘Riot in Cell Block No9’ and the likes, but hey, this is a band that can turn their hand to anything with the greatest of ease
Saturday, and a quick look around the ‘Show and Shine’ display of the cars, about which I can’t add anything other than they had a wheel at each corner and people fill them with petrol, such is my ignorance in that field. I can however appreciate that there’s a ton of work involved in keeping these classic vehicles not only working, but in such pristine condition. Playing under a gazebo, the Drag Links, presenting some classic Rock n Roll against the backdrop of a smashing sunny day around the Yacht Club.
Miss Mary Ann, a fellow North East lass, has a super powered voice, and can take on some of the lady blues songs with consummate ease. Starting with Maria Knight’s ‘I Thought I Told You Not To Tell Her’ and ‘Seventeen’, which was like the Fontaine Sisters ’55 version, and Lula Reed’s ‘I Upset You Baby’. Standout for me, always during a Miss Mary set, is her cover of Damita Jo’s ‘Mister Blues’. This is a song perfectly suited to Mary’s voice and with the Revolutionaires en-point with the backing, the result was outstandingly excellent.
Although poor Ed couldn’t even shout ‘Tequila’ during them playing that tune, it didn’t detract from what was an ace set. We had boogie-woogie piano and a guitar driven blues bopper instrumental, and Mary finishing it all of with Dolly Cooper’s ‘My Man’. Odd not hearing the likes of ‘Riot in Cell Block No9’ and the likes, but hey, this is a band that can turn their hand to anything with the greatest of ease
Saturday, and a quick look around the ‘Show and Shine’ display of the cars, about which I can’t add anything other than they had a wheel at each corner and people fill them with petrol, such is my ignorance in that field. I can however appreciate that there’s a ton of work involved in keeping these classic vehicles not only working, but in such pristine condition. Playing under a gazebo, the Drag Links, presenting some classic Rock n Roll against the backdrop of a smashing sunny day around the Yacht Club.
Miss Mary with the Revolutionaires
The Accidents
The afternoon sessions began in the Harlequin Show Bar with the Accidents, a family trio from Kent. It features the Blackwell family, John on bass, Charlie on guitar and Keri with her stand-up drum kit. Last time we saw them Keri was on crutches from ankle ligament damage, but since then, has ditched the drum seat in favour of standing, I’d suggest in a Go Getter style.
From that last time, they have honed their style and now present a pretty darn good sound, as well as an animated stage show. It amazes me how people can still get a tune out of a guitar whilst jumping around when many of us have to sit still and concentrate to play a ‘D’ chord! Well, that’s Charlie, throwing himself, and his black Gretsch into the performance as the trio opened up with ‘Red Hot Mama’.
Their set ranged from the well known to the obscure, taking the contrast between ‘Ready Teddy’ and ‘Electrified Donkey’ as an example. All of it though, was pacey and energetic, through ‘Please Don’t Touch’ and ‘Long Blonde Hair’ which could almost be lost among the on stage bass climbing, and John balancing the bass on his brother’s head. It doesn’t though, the sound is tight throughout.
There were many-a recognising nods for tracks like ‘Tainted Love’ ‘C’mon Everybody’ and ‘I’m Coming Home’, in a set that drew a considerable crowd in from the sunshine. Good to see this trio developing with experience, into an accomplished and talented act.
From that last time, they have honed their style and now present a pretty darn good sound, as well as an animated stage show. It amazes me how people can still get a tune out of a guitar whilst jumping around when many of us have to sit still and concentrate to play a ‘D’ chord! Well, that’s Charlie, throwing himself, and his black Gretsch into the performance as the trio opened up with ‘Red Hot Mama’.
Their set ranged from the well known to the obscure, taking the contrast between ‘Ready Teddy’ and ‘Electrified Donkey’ as an example. All of it though, was pacey and energetic, through ‘Please Don’t Touch’ and ‘Long Blonde Hair’ which could almost be lost among the on stage bass climbing, and John balancing the bass on his brother’s head. It doesn’t though, the sound is tight throughout.
There were many-a recognising nods for tracks like ‘Tainted Love’ ‘C’mon Everybody’ and ‘I’m Coming Home’, in a set that drew a considerable crowd in from the sunshine. Good to see this trio developing with experience, into an accomplished and talented act.
Joe Chapman of the Outsiders
Next on, The Outsiders, from Peterborough and surrounding areas. This band is in it’s fifth year, with vocalist and hip swiveller Joe Chapman on vocals, Steve Cage slapping the bass, with Peter Ravenhill picking the six strings and Stan Kucharski keeping the rhythm on drums. They present a cool set of different beats and tempos, using tracks to cover that sometimes slip through the net.
Saying that, the oft-covered ‘Brand New Cadillac’ got another outing, it’s a staple of many bands nowadays, before a rock out take of Conway Twitty’s ‘Long Black Train’ upped the anti. Good to hear Tom Tall’s ‘Stack o Records’ and Carl Perkins’ ‘Rio De Rosa’ done so well.
A particular standout for these reviewers, has to be ‘Livin’ High’. This was originally a Vince Everett track on ABC-Paramount from 1963, on the flip of ‘Baby Let’s Play House’, and has a very Elvis-esque flavour to the style and sound, recreated with some aplomb by the Outsiders. Similarly the Jades’ surfy sounding ‘Blue Black Hair’ from ’64, another track that hit the high spots. Cool drum work by Stan behind the cans on this one, folks. Good to hear the title track of their current CD, ‘Looking For a Girl’ which is also an original composition by vocalist Joe.
I have to also flag up, ‘I’ll Take Love’, from Elvis’ last feature film for Paramount ‘Easy Come, Easy Go’. That song is probably the most memorable part of the film and the Outsiders version of the ditty, is accomplished and brings a tap to your toe. Massively enjoyable set from the lads with added ‘arriba’!
Saying that, the oft-covered ‘Brand New Cadillac’ got another outing, it’s a staple of many bands nowadays, before a rock out take of Conway Twitty’s ‘Long Black Train’ upped the anti. Good to hear Tom Tall’s ‘Stack o Records’ and Carl Perkins’ ‘Rio De Rosa’ done so well.
A particular standout for these reviewers, has to be ‘Livin’ High’. This was originally a Vince Everett track on ABC-Paramount from 1963, on the flip of ‘Baby Let’s Play House’, and has a very Elvis-esque flavour to the style and sound, recreated with some aplomb by the Outsiders. Similarly the Jades’ surfy sounding ‘Blue Black Hair’ from ’64, another track that hit the high spots. Cool drum work by Stan behind the cans on this one, folks. Good to hear the title track of their current CD, ‘Looking For a Girl’ which is also an original composition by vocalist Joe.
I have to also flag up, ‘I’ll Take Love’, from Elvis’ last feature film for Paramount ‘Easy Come, Easy Go’. That song is probably the most memorable part of the film and the Outsiders version of the ditty, is accomplished and brings a tap to your toe. Massively enjoyable set from the lads with added ‘arriba’!
La Perra Blanco Trio
And now for a band that I knew absolutely zip about, La Perra Blanco Trio, from Spain. Here was a small statured lady, Alba Blanco, with a ton of dreadlocks, bundled into a head scarf, a bright orange Ibanez guitar, and more energy than a power station. She was supported by a somewhat maniacal looking bass player Guillermo Gonzalez with some seriously white gnashers, and a fairly sedate looking drummer, Juan Andujar.
Together though, they produce an awesome sound, as displayed on their opening introduction instrumental, ‘Doggy Rag’. I’m not sure of the influences that resulted in that name, but I tell you what readers, that was quite the primer for the audience. With the familiar ‘Boppin’ The Blues’ following, at breakneck speed, we all knew this was something special. I loved the version of Bunker Hill’s ‘You Can’t Make Me Doubt My Baby’, and their take of Stick McGhee’s ‘Drinkin’ Wine Spo Dee O Dee’ was a delight.
The rockers continued relentlessly, with the Big O’s ‘Go Go Go (Move on down the Line)’ and Charlie Feathers’ ‘One Hand Loose’ with their own ‘Bop and Shake’ rattling along. There was one slow song, the name of which escapes me at the time of writing, among all the kicking rockers, but essentially, this was an hour of punchy rhythms, that just flew by. This was their first visit to England, let’s hope it’s not their last.
Together though, they produce an awesome sound, as displayed on their opening introduction instrumental, ‘Doggy Rag’. I’m not sure of the influences that resulted in that name, but I tell you what readers, that was quite the primer for the audience. With the familiar ‘Boppin’ The Blues’ following, at breakneck speed, we all knew this was something special. I loved the version of Bunker Hill’s ‘You Can’t Make Me Doubt My Baby’, and their take of Stick McGhee’s ‘Drinkin’ Wine Spo Dee O Dee’ was a delight.
The rockers continued relentlessly, with the Big O’s ‘Go Go Go (Move on down the Line)’ and Charlie Feathers’ ‘One Hand Loose’ with their own ‘Bop and Shake’ rattling along. There was one slow song, the name of which escapes me at the time of writing, among all the kicking rockers, but essentially, this was an hour of punchy rhythms, that just flew by. This was their first visit to England, let’s hope it’s not their last.
Danny O and the Astrotones
Into the evening now, with a band making waves on the Rock n Roll circuit, Danny O and the Astrotones. This is a four piece that takes no prisoners, featuring riffs from the two electric guitars (a Hofner and an ‘Astrotone’) set at the point juuuuust before deafening. Ballsy Rock n Roll sounds set to an almost 100% original play list.
Danny himself is your prototypical, lean, young rocker, sharply kitted out and hair and guitar flying in all directions, launching as he did into ‘Fool Out Of You’, ‘Same Old Story’, and ‘Imaging Mind’, before taking a breath and chatting to the audience. For me, the dynamic instrumental ‘Machine Gun’ is a real slab of loud, proud excellence, with the Astrotones in fine fettle.
The track ‘Drinking on School Night’, resonates with many my age, and it was good to hear ‘Everyday Chains’ and (as the encore) ‘Do The Astro!’ that feature on one of their 45rpms, ‘Volcano’ and ‘You Don’t Need Me Baby’ from the ‘Young and Wild’ single and an ‘undinked’ (yes that’s a word used by vinyl-ites) ‘Paint The Town’. There was just time for a cover of Bobby Milano’s ‘Life Begins at Four O’Clock’ as well. No quarter given and none asked!
Danny himself is your prototypical, lean, young rocker, sharply kitted out and hair and guitar flying in all directions, launching as he did into ‘Fool Out Of You’, ‘Same Old Story’, and ‘Imaging Mind’, before taking a breath and chatting to the audience. For me, the dynamic instrumental ‘Machine Gun’ is a real slab of loud, proud excellence, with the Astrotones in fine fettle.
The track ‘Drinking on School Night’, resonates with many my age, and it was good to hear ‘Everyday Chains’ and (as the encore) ‘Do The Astro!’ that feature on one of their 45rpms, ‘Volcano’ and ‘You Don’t Need Me Baby’ from the ‘Young and Wild’ single and an ‘undinked’ (yes that’s a word used by vinyl-ites) ‘Paint The Town’. There was just time for a cover of Bobby Milano’s ‘Life Begins at Four O’Clock’ as well. No quarter given and none asked!
Gizzelle
If there was an act that would be worth the admission fee alone on Saturday, it’s Gizzelle. A familiar face at Hemsby and indeed at events around the UK, the little lady with the big voice from La Puente, owned that stage. Backed by the Revolutionaires, the set was fifteen vocal gems, set to the musical perfect backing, with the trembling start to ‘I’m a Good Woman’ opening the show. It’s amazing that this track was released eight years ago on Wild Records.
Etta James’ ‘Seven Day Fool’ followed with the popular dance floor stroller, Little Johnny Taylor’s ‘Somewhere Down The Line’. For me, it’s not a Gizzelle show unless we get ‘I Found a Love’, a beautiful ballad that she admits to being her favourite love song. So, with her plentiful tumbling locks of red hair shading one eye, this three minutes of brilliance filled the room. That showcases her vocal range, especially well, as does ‘Deep Dark Secret’ a completely different song, and tempo, but worthy of flagging up.
Making full use of Gary Hoole’s sax versatility, Big Maybelle’s ‘That’s a Pretty Good Love’ worked like a charm with Ed substituting the shoutback male part of the song, with skilful guitar picking. ‘Sugar Coated Love’? Who do you think of? Freddie Fender from the ‘70’s or Lazy Lester maybe? Well you need to add this version in with the classics too. ‘Gotta Have That Green’ preceded a classic, ‘Humdinger’ before a quick bow, and off the stage Gizzelle went. The audience weren’t having it, and back she came with a kick-a*se version of Etta James’ ‘Tough Lover’. Again, the audience wanted more, and a hastily arranged ‘Baby Please Don’t Go’ topped off a grade A show, worthy of topping the bill.
Etta James’ ‘Seven Day Fool’ followed with the popular dance floor stroller, Little Johnny Taylor’s ‘Somewhere Down The Line’. For me, it’s not a Gizzelle show unless we get ‘I Found a Love’, a beautiful ballad that she admits to being her favourite love song. So, with her plentiful tumbling locks of red hair shading one eye, this three minutes of brilliance filled the room. That showcases her vocal range, especially well, as does ‘Deep Dark Secret’ a completely different song, and tempo, but worthy of flagging up.
Making full use of Gary Hoole’s sax versatility, Big Maybelle’s ‘That’s a Pretty Good Love’ worked like a charm with Ed substituting the shoutback male part of the song, with skilful guitar picking. ‘Sugar Coated Love’? Who do you think of? Freddie Fender from the ‘70’s or Lazy Lester maybe? Well you need to add this version in with the classics too. ‘Gotta Have That Green’ preceded a classic, ‘Humdinger’ before a quick bow, and off the stage Gizzelle went. The audience weren’t having it, and back she came with a kick-a*se version of Etta James’ ‘Tough Lover’. Again, the audience wanted more, and a hastily arranged ‘Baby Please Don’t Go’ topped off a grade A show, worthy of topping the bill.
Polecats
From the sublime to…….well….the Polecats. With Boz Boorer on tour, they brought in some bloke from Suffolk called Mark Harmon on lead guitar. Make no bones about it, when you’ve got that sort of talent to call on, you’re on a winner.
Tim Polecat, still sporting a mass of red hair (but not in Gizzelle’s league) in his pink shirt, certainly puts heart and soul into the show, bouncing around the stage leering over the audience and delivering the vocals of the Mercury single ‘John I’m Only Dancing’ and the flip ‘Big Green Car’. Yep, to coin a phrase, Polecats are Go.
This was another frantic set at Hemsby, with added Saturday night wrecking and some aerial liquids from time to time as the Polecats rattled off ‘Red Ready Amber’ Dennis Herrold’s ‘Hip Hip Baby’ and Dwight Pullen’s ‘Sunglasses After Dark’, before their reworking of Lennon and McCartney’s ‘I’ll Cry Instead’ sounded ‘nothing like that’.
Another cover that made it to a single in the 80’s was ‘Jeepster’, Marc Bolan and T-Rex’s chunka-chunka sound, that leant itself well to the Rockabilly style of that era. That made an appearance along with (I think) the last Mercury single ‘Make a Circuit With Me’. After the pleading ‘Please Give Me Something’, they were called back for the gentle canticle that is ‘Rockabilly Guy’. There’s a fine line between this, and punk-with-a-bass, and the Polecats have always stayed this side of the tracks.
Tim Polecat, still sporting a mass of red hair (but not in Gizzelle’s league) in his pink shirt, certainly puts heart and soul into the show, bouncing around the stage leering over the audience and delivering the vocals of the Mercury single ‘John I’m Only Dancing’ and the flip ‘Big Green Car’. Yep, to coin a phrase, Polecats are Go.
This was another frantic set at Hemsby, with added Saturday night wrecking and some aerial liquids from time to time as the Polecats rattled off ‘Red Ready Amber’ Dennis Herrold’s ‘Hip Hip Baby’ and Dwight Pullen’s ‘Sunglasses After Dark’, before their reworking of Lennon and McCartney’s ‘I’ll Cry Instead’ sounded ‘nothing like that’.
Another cover that made it to a single in the 80’s was ‘Jeepster’, Marc Bolan and T-Rex’s chunka-chunka sound, that leant itself well to the Rockabilly style of that era. That made an appearance along with (I think) the last Mercury single ‘Make a Circuit With Me’. After the pleading ‘Please Give Me Something’, they were called back for the gentle canticle that is ‘Rockabilly Guy’. There’s a fine line between this, and punk-with-a-bass, and the Polecats have always stayed this side of the tracks.
Hemsby dot….dot. Best tracks in the world ever ever to reshape your sand dunes for this Hemsby were Alice Jayne and the Sirocco Brothers ‘Hoo-Doo’, Little Ike’s ‘She Can Rock’ and Hedley and Lee’s ‘Trouble’……Thanks to Lee Hugman, for passing over some set lists, my memory ain’t what it used to be……Me to June, ‘Do you want to look around the stalls’, June ‘Yes, but I’m not looking to buy anything’, Me ‘Neither am I’. Me ten minutes later, arrives back at our flat with a June’s new jacket and my new shirt……DJs at Hemsby this year, played some hot stuff. Each had their own style, from Trev Collins’ cool old skool (with the ‘k’ round the wrong way) stuff, Rohan The Man’s eclectic mix, Tojo’s excellent dance sets, Bill, George and Jimmy Guntrip’s club sounds, and Little Carl’s selection that always has instrumentals that you think ‘I must ask what that was’. The only DJ we missed was our mate BeBop Kaz, down at the Yacht Club, as her sets were on at similar times to the bands……..Willie who?.........Which MC made a big deal of saying Pontins, that’s done with, then introduced an act that they recalled playing there with such fondness 😉 …….I’ve tried not to compare this pile of bricks with that pile of bricks and who did what to whom in them for this review, but such are the changes, you can’t help but mention them…..
James Cook of Bonesville
Sunday, a bit more of a chill and chatter for us, and a saunter over for the first act on Bonesville, about whom, we knew nothing initially. Sure, once we’d arrived and saw the personnel, it looked like the May-Hems sans Sharna Mae but to dismiss the band as just that would be disingenuous. No this is a band in it’s own right, with it’s own direction and style.
Clearly their initial influence, judging by the first couple of tracks, were Jack Rabbit Slim, hearing their versions of ‘Rock a Cha’ and ‘Sparkling Brown Eyes’ (please spare me the George Jones/Shane Fenton lines, you had to be here). Following a rather tacet reaction from the announcement that Man City had won the Premiership, from mainly those rooting for Liverpool, the lads got back down to business with a corking cover of Ronnie Dawson’s ‘Crazy Shoes’.
Elvis’ 1965 film ‘Girl Happy’ contained ‘Wolf Call’, a song that once again Jack Rabbit Slim added a more low-down sound to, replicated here by Bonesville, which followed the Jades’ ‘Blue Black Hair’. The crowd were clearly into the band, and their presentations of Gene’s frantic ‘Hold Me, Hug Me, Rock Me’, another Ronnie Dawson styled ‘Rockin Bones’ and Eddie Bond’s ‘Slip Slippin’ In’. A really good set of rocking tunes.
Clearly their initial influence, judging by the first couple of tracks, were Jack Rabbit Slim, hearing their versions of ‘Rock a Cha’ and ‘Sparkling Brown Eyes’ (please spare me the George Jones/Shane Fenton lines, you had to be here). Following a rather tacet reaction from the announcement that Man City had won the Premiership, from mainly those rooting for Liverpool, the lads got back down to business with a corking cover of Ronnie Dawson’s ‘Crazy Shoes’.
Elvis’ 1965 film ‘Girl Happy’ contained ‘Wolf Call’, a song that once again Jack Rabbit Slim added a more low-down sound to, replicated here by Bonesville, which followed the Jades’ ‘Blue Black Hair’. The crowd were clearly into the band, and their presentations of Gene’s frantic ‘Hold Me, Hug Me, Rock Me’, another Ronnie Dawson styled ‘Rockin Bones’ and Eddie Bond’s ‘Slip Slippin’ In’. A really good set of rocking tunes.
The Hightone Rhythm Ramblers
Sunday evening began with another Spanish band, The Hightone Rhythm Ramblers. Hang on, that’s Charlie Hightone fronting the combo, which featured members of the Rock-Its, and a steel guitar player. Charlie in his Western shirt gave us all a hint of what to expect with ‘I Don’t Care’ and an exquisite version of Bill Browning’s Starday classic ‘Don’t Push, Don’t Shove’, alongside label-mate Lattie Moore’s ‘I’m Not Broke, But I’m Badly Bent’.
There was also the coolest version of a rarely covered Hank Williams composition ‘I’ll Be a Bachelor ‘til I Die’, and ‘Rock n Roll Fever’ (Cecil Campbell?). I don’t recall a version of Rod Morris’ ‘Ghost of Casey Jones’ as good as this one, and for sure anything close to the finale of Tony Douglas’ ‘Thunder and Lightning’. A bit of light and shade for Sunday, and a welcome one from the versatile band from Spain
There was also the coolest version of a rarely covered Hank Williams composition ‘I’ll Be a Bachelor ‘til I Die’, and ‘Rock n Roll Fever’ (Cecil Campbell?). I don’t recall a version of Rod Morris’ ‘Ghost of Casey Jones’ as good as this one, and for sure anything close to the finale of Tony Douglas’ ‘Thunder and Lightning’. A bit of light and shade for Sunday, and a welcome one from the versatile band from Spain
The Go Getters
Another contrast next, with the Go Getters, well dare I say, Go Getter with two de-facto Go Getters. To explain, Peter Sandeberg on his upright drumkit and vocals, was joined by two British musicians, from the Accidents John Blackwell on bass and the Drugstore Cowboys’ Nick Whitfield on lead guitar.
So here we go for a round of thundering drum beats, and some familiar Go Getters tracks, ‘Red Hot Mama’, ‘Welcome to My Hell’ and ‘Slow Down’ for example. Sandeberg is a commanding presence on stage, with his trademark black garb and dark glasses, and at times self-deprecating, referring to himself as the guy made by Ikea. The backing was very good, as they roared through Ersel Hickey’s ‘Going Down That Road’, ‘Black Magic Woman’ (Santana I think) and their own ‘MexiGo’, which is scarily over twenty years old now.
There was ‘Secret Agent Man’, the Johnny Rivers track from ’66, and the song that launched a thousand jive sessions, ‘No Heart to Spare’ that concluded the set. The inevitable encore, was heralded by a rallying call of ‘Hey ho Let’s Go’, as they launched themselves and the crowd into the cover of the Ramones ‘Blitzkrieg Bop’ from ‘76, to end an immensely popular show.
So here we go for a round of thundering drum beats, and some familiar Go Getters tracks, ‘Red Hot Mama’, ‘Welcome to My Hell’ and ‘Slow Down’ for example. Sandeberg is a commanding presence on stage, with his trademark black garb and dark glasses, and at times self-deprecating, referring to himself as the guy made by Ikea. The backing was very good, as they roared through Ersel Hickey’s ‘Going Down That Road’, ‘Black Magic Woman’ (Santana I think) and their own ‘MexiGo’, which is scarily over twenty years old now.
There was ‘Secret Agent Man’, the Johnny Rivers track from ’66, and the song that launched a thousand jive sessions, ‘No Heart to Spare’ that concluded the set. The inevitable encore, was heralded by a rallying call of ‘Hey ho Let’s Go’, as they launched themselves and the crowd into the cover of the Ramones ‘Blitzkrieg Bop’ from ‘76, to end an immensely popular show.
The Extraordinaires
We were trying to recall the last time got to see the next act, the Extraordinaires, thinking that it might be as long as fifteen years. Since then, there’s only one original member in the line up, although the swagger they entered the stage with, exuded a confidence of a band about to wow the crowd. Looking the sharpest of the sharp in their powder blue jackets and white trousers, ‘Why Why’ and ‘Fools Fall in Love’ started the show. Admittedly there was a little imbalance to start with, not sure of the root cause but that was soon forgotten, during ‘Ruby Baby’.
The Falcons’ ‘You’re So Fine’ hit the mark, along with the Spaniels’ variant of ‘People Will Say We’re in Love’ the Rodgers and Hammerstein song from ‘Oklahoma’. With the perceptive backing of the Revolutionaires, ‘Why Do Fools Fall In Love’, ‘Little Bitty Pretty One’ and ‘Rockin’ Robin’ sounded smooth and accomplished. One track you just don’t hear that often, ‘Zoom’ originally by the Cadillacs, was an absolute delight to behold. ‘Let’s Rock n Roll’ and ‘Goodnight Sweetheart’ seemingly ended the show, a little truncated for many.
Bringing them back out, they showcased their own track from ’97, ‘Rock With You’ and ended with the rip roaring ‘Jump Children’ that was a thrill. The Hemsby tradition of presenting a blue-chip, doo wop act on Sunday evening, is alive and well folks.
The Falcons’ ‘You’re So Fine’ hit the mark, along with the Spaniels’ variant of ‘People Will Say We’re in Love’ the Rodgers and Hammerstein song from ‘Oklahoma’. With the perceptive backing of the Revolutionaires, ‘Why Do Fools Fall In Love’, ‘Little Bitty Pretty One’ and ‘Rockin’ Robin’ sounded smooth and accomplished. One track you just don’t hear that often, ‘Zoom’ originally by the Cadillacs, was an absolute delight to behold. ‘Let’s Rock n Roll’ and ‘Goodnight Sweetheart’ seemingly ended the show, a little truncated for many.
Bringing them back out, they showcased their own track from ’97, ‘Rock With You’ and ended with the rip roaring ‘Jump Children’ that was a thrill. The Hemsby tradition of presenting a blue-chip, doo wop act on Sunday evening, is alive and well folks.
Neutronz
So all too quickly, it was time for the last band for this Hemsby, performing one of their last handful of shows, The Neutronz. A bit of Neo to end the weekender, with lead singer and lead guitarist Stephen Clark leading the charge with ‘Blood Alley’ and ‘The Loveless’. Several, dare I say, neo-classics appeared in the set, from the 80’s ‘Tainted Love’ (I know, but I’m basing this on the Rockabilly version) Depeche Mode’s ‘Personal Jesus’ from ’89, a reprise of ‘John I’m Only Dancing’ from the previous night with the Polecats.
Those along with Springsteen’s ‘I’m On Fire’, ‘Town Called Malice’ originally by the Jam, and Tenpole Tudor’s ‘Swords of a Thousand Men’, had a decent bunch of diehards bouncing around at the front of the stage. It wasn’t all an 80’s fest, a couple of earlier tracks made the cut, ‘Baby Blue Eyes’ and ‘Nobody’s Guy’ for example and I guess the 1960 track ‘Long Black Shiny Car’ originally by Mike Page, counts. That was the encore, although it had more of the Restless ‘82 feel to it. Only a few shows left if you want to catch this trio.
So there it was readers, Hemsby 62 in the can. Much kudos must go the Guntrip family for the hard work involved in ensuring there’s a premier Rock n Roll event ongoing at Hemsby. The partial line up is out for 2020, with more bands to be confirmed. Pretty sure it’ll be a good one, but don’t take my word for it, come and see for yourself.
© Andrew Smith, June Smith, The Bettajive Review, May 2019
Those along with Springsteen’s ‘I’m On Fire’, ‘Town Called Malice’ originally by the Jam, and Tenpole Tudor’s ‘Swords of a Thousand Men’, had a decent bunch of diehards bouncing around at the front of the stage. It wasn’t all an 80’s fest, a couple of earlier tracks made the cut, ‘Baby Blue Eyes’ and ‘Nobody’s Guy’ for example and I guess the 1960 track ‘Long Black Shiny Car’ originally by Mike Page, counts. That was the encore, although it had more of the Restless ‘82 feel to it. Only a few shows left if you want to catch this trio.
So there it was readers, Hemsby 62 in the can. Much kudos must go the Guntrip family for the hard work involved in ensuring there’s a premier Rock n Roll event ongoing at Hemsby. The partial line up is out for 2020, with more bands to be confirmed. Pretty sure it’ll be a good one, but don’t take my word for it, come and see for yourself.
© Andrew Smith, June Smith, The Bettajive Review, May 2019
Hot rock n boogie #2
Rockin Em
Hot Rock n Boogie #2
Review by Andrew Smith
The Springfield Centre in Spalding Lincolnshire, was once again the venue for the Hot Rock n Boogie event. The team of Claire and Neil Seabrook had the runs on the board from last year, so it was going to be a task to top 2018. So, did they? Well don’t think I’m going to tell you here, you’ll have to read down and see how it went down. Oh, and those of you who have just returned from the bottom of the page, now read it properly 😊.
New for this year, and most welcome, was the springy wooden dance floor, sooooo much more forgiving than the concrete is on the lower joints. Also new, dance lessons that replaced the very early band start time. With more stalls in the hall as well as the separate room, the place was a myriad of colours and expectation. The line up this year, looked stellar, and as the jive and dance classes concluded, so the first band took their place on the stage, Rockin ‘Em.
Fronted by lead guitarist and vocalist Ken Marlow, this trio pepped up the dancers after their class with some well-suited tunes for them. They opened with a couple of jiving winners, Vic Vickers’ ‘Action Speaks Louder Than Words’ and Johnny Preston’s ‘Cradle of Love’, before rocking it up with Buddy’s ‘Rock Around With Ollie Vee’. Liked the addition of ‘Hukilau’ with a nod to the queen of said song, DJ Miss Aloha, who led a small but equally enthusiastic trio in the actions by the side of the stage.
Good tunes followed, the likes of ‘Love Potion No9’, ‘Georgia Slop’ and ‘Sweet Sweet Girl’, which kept the floor busy, and also notably, a pretty large crowd in the house already. Solid start from the trio from Northants.
Review by Andrew Smith
The Springfield Centre in Spalding Lincolnshire, was once again the venue for the Hot Rock n Boogie event. The team of Claire and Neil Seabrook had the runs on the board from last year, so it was going to be a task to top 2018. So, did they? Well don’t think I’m going to tell you here, you’ll have to read down and see how it went down. Oh, and those of you who have just returned from the bottom of the page, now read it properly 😊.
New for this year, and most welcome, was the springy wooden dance floor, sooooo much more forgiving than the concrete is on the lower joints. Also new, dance lessons that replaced the very early band start time. With more stalls in the hall as well as the separate room, the place was a myriad of colours and expectation. The line up this year, looked stellar, and as the jive and dance classes concluded, so the first band took their place on the stage, Rockin ‘Em.
Fronted by lead guitarist and vocalist Ken Marlow, this trio pepped up the dancers after their class with some well-suited tunes for them. They opened with a couple of jiving winners, Vic Vickers’ ‘Action Speaks Louder Than Words’ and Johnny Preston’s ‘Cradle of Love’, before rocking it up with Buddy’s ‘Rock Around With Ollie Vee’. Liked the addition of ‘Hukilau’ with a nod to the queen of said song, DJ Miss Aloha, who led a small but equally enthusiastic trio in the actions by the side of the stage.
Good tunes followed, the likes of ‘Love Potion No9’, ‘Georgia Slop’ and ‘Sweet Sweet Girl’, which kept the floor busy, and also notably, a pretty large crowd in the house already. Solid start from the trio from Northants.
Rusti Steel
The familiar Stetson clad figure of Rusti Steel, flitted about from stage to car park in double quick time, to bring their kit to the stage. With the well ensconced Startones line up of Andy Meadows on drums, Stewart Dale slapping the bass, and Lloyd Mills on guitars (various), backing Rusti, who as well as performing vocals, plays lead guitar and ironing board. This is a band that produce a super tight sound, with a varied play list, and an infectiously enthusiastic stage show.
Rusti in his red velvet shirt, made sure the opener set the pace, with Glenn Honeycutt’s Sun recording of ‘All Night Rock’, whilst a pitch perfect take of Carl Perkins’ ‘Your True Love’ was a joy to behold. ‘Ting-a-Ling’ c/w ‘All Night Long’ got the strollers out, and Chuck’s ‘Almost Grown’ kept them there. And speaking of stroll tunes, there was time for a couple of their own compositions, ‘Prisoner of Your Charms’ and ‘Racheal Lou’ which is a reworking of ‘Linda Lu’ as in Ray Sharpe. Swapping the geetar for the steel geetar (the afore mentioned ironing board), we had a real treat with ‘Ballroom Baby’ and the early Haley recording ‘Real Rock Drive’.
So quick did the set go, there was no time for the song they’d sound checked to, which was Jimmy Lee and Wayne Walker’s ‘Love Me’, but we did squeeze in the directions to one of our favourite municipalities, ‘Catty Town’. Loads of noise and the well-deserved encore, with their own title track of a CD past, ‘Gone With The Wind’. A breathless set by the four -piece, and a real crowd pleaser with added ‘yeeehaw’!
Rusti in his red velvet shirt, made sure the opener set the pace, with Glenn Honeycutt’s Sun recording of ‘All Night Rock’, whilst a pitch perfect take of Carl Perkins’ ‘Your True Love’ was a joy to behold. ‘Ting-a-Ling’ c/w ‘All Night Long’ got the strollers out, and Chuck’s ‘Almost Grown’ kept them there. And speaking of stroll tunes, there was time for a couple of their own compositions, ‘Prisoner of Your Charms’ and ‘Racheal Lou’ which is a reworking of ‘Linda Lu’ as in Ray Sharpe. Swapping the geetar for the steel geetar (the afore mentioned ironing board), we had a real treat with ‘Ballroom Baby’ and the early Haley recording ‘Real Rock Drive’.
So quick did the set go, there was no time for the song they’d sound checked to, which was Jimmy Lee and Wayne Walker’s ‘Love Me’, but we did squeeze in the directions to one of our favourite municipalities, ‘Catty Town’. Loads of noise and the well-deserved encore, with their own title track of a CD past, ‘Gone With The Wind’. A breathless set by the four -piece, and a real crowd pleaser with added ‘yeeehaw’!
Earl Jackson
Revving up the redness next was Earl Jackson and his band, with Earl top to toe in bright red threads. Another immensely popular act with the dancers, who poured out onto the floor with the first bars of ‘Flip Flop and Fly’. Earl does Chuck Berry as well as anyone, along with his cherry red Gibson guitar, the story of which he was happy to relate, given the bargain it was when he bought it. Some of the Chuck songs are refreshingly away from your overdone ‘Johnny B Goode’s’, taking ‘Back in the USA’ and ‘Nadine’ as two examples.
Of course, there’s the popular stuff ‘No Particular Place To Go’, ‘Carol’, ‘Roll Over Beethoven’ and ‘Little Queenie’, all classic three minute rocking operettas. Toss in a slab of sixties Sonics with ‘Have Love Will Travel’, and some Elvis with ‘Little Sister’ and ‘Shoppin’ Around’, and you have a pretty potent recipe for a top show. I will single out the super cool version of Howlin’ Wolf’s ‘Howlin’ For My Baby’ as a particular standout, that stuck a rocket under the bopping fraternity for the duration. A cool set from Earl, who whizzed back down to Bournemouth from whence he came, having played the previous night.
Of course, there’s the popular stuff ‘No Particular Place To Go’, ‘Carol’, ‘Roll Over Beethoven’ and ‘Little Queenie’, all classic three minute rocking operettas. Toss in a slab of sixties Sonics with ‘Have Love Will Travel’, and some Elvis with ‘Little Sister’ and ‘Shoppin’ Around’, and you have a pretty potent recipe for a top show. I will single out the super cool version of Howlin’ Wolf’s ‘Howlin’ For My Baby’ as a particular standout, that stuck a rocket under the bopping fraternity for the duration. A cool set from Earl, who whizzed back down to Bournemouth from whence he came, having played the previous night.
The Retrobaits
More from Northants next as the Retrobaits arrived on stage. Three lads making waves on the circuit, with a performance at last year’s Rhythm Riot and one upcoming at Atomic, as well as club gigs and a new CD on Western Star Records. It would be easy to expect your classic Rockabilly trio sound; however, these guys really do mix it up with a massively varied set.
They opened up with ‘Hey Hey Hayley’ a rip roaring, guitar driven, cymbal crashing rocker, followed by two Rockabilly classics, ‘Pink n Black’ and ‘Dontcha Be Gone Long’. It’s then you got the contrast, with the Cliques hopped up stroller ‘I’m in Love With a Girl’, and some serious jive to Sanford Clark’s ‘Modern Romance’. Good also to hear stuff from their latest CD, including the title track ‘All Systems Go’, plus ‘Cryin at My Front Door’ which is a kick a*se tune if ever I’ve heard one.
Then another gear switch, as the audience were encouraged to participate in Del Shannon’s ‘Runaway’, I think you can guess which bits, before the party time track ‘Let’s Twist Again’, and their version of ‘Cheap Shots and Alibis’. They surely set up a good vibe for the evening.
They opened up with ‘Hey Hey Hayley’ a rip roaring, guitar driven, cymbal crashing rocker, followed by two Rockabilly classics, ‘Pink n Black’ and ‘Dontcha Be Gone Long’. It’s then you got the contrast, with the Cliques hopped up stroller ‘I’m in Love With a Girl’, and some serious jive to Sanford Clark’s ‘Modern Romance’. Good also to hear stuff from their latest CD, including the title track ‘All Systems Go’, plus ‘Cryin at My Front Door’ which is a kick a*se tune if ever I’ve heard one.
Then another gear switch, as the audience were encouraged to participate in Del Shannon’s ‘Runaway’, I think you can guess which bits, before the party time track ‘Let’s Twist Again’, and their version of ‘Cheap Shots and Alibis’. They surely set up a good vibe for the evening.
Jackson Sloan
The elevated stature of fellow Essex bloke, Jackson Sloan was next to bring his particular jumping jazzy Rhythm and Blues sound to the weekender, with his band, the Rhythmtones. Once people have got past ‘He’s the bloke who does Kickin Up The Dust’, you can get a full feel for the quality of his music, much of it, original material. ‘Juke Box Swing’ sets the (rhythm) tone, see what I did there, with the floor filling as quickly as it ever had done to that point.
Everything had that jumping jivey bouncing beat, ‘Big Talk’ from the Shack Sessions, ‘One Horse Town’ from ‘Postcards from Paris’ and ‘Old Records’ from ‘Radio Internationale gave an indication of just how consistently high Jackson’s recordings are in quality. There are references to some of the characters and subjects of early 50’s tunes, in Jackson’s own material, ‘Don’t Count Your Chickens’ ‘The Chicken and the Bop’ and ‘Who Shot Shorty’, to name three, could be follow on songs from the originals.
I think there’d have been a lynch mob formed if the band hadn’t have performed ‘Kickin’ Up The Dust’, but they had to wait. You couldn’t get a credit card between the couples on the floor when that started! Cracking show.
Everything had that jumping jivey bouncing beat, ‘Big Talk’ from the Shack Sessions, ‘One Horse Town’ from ‘Postcards from Paris’ and ‘Old Records’ from ‘Radio Internationale gave an indication of just how consistently high Jackson’s recordings are in quality. There are references to some of the characters and subjects of early 50’s tunes, in Jackson’s own material, ‘Don’t Count Your Chickens’ ‘The Chicken and the Bop’ and ‘Who Shot Shorty’, to name three, could be follow on songs from the originals.
I think there’d have been a lynch mob formed if the band hadn’t have performed ‘Kickin’ Up The Dust’, but they had to wait. You couldn’t get a credit card between the couples on the floor when that started! Cracking show.
Darrel Higham
For the last two weekenders we have covered, Darrel Higham and the Enforcers have closed a night’s live appearances. Make that three, at Spalding. The trio of Darrel on lead guitar and vocals, Adam Miles on upright bass, and sitting in on drums for the night, Paul Richardson. This show offered another style and rhythm, featuring powerhouse guitar solos and thumping rhythms, starting with Herbie Smith’s ‘Baby Moon’.
It’s not often you’ll hear Johnny and Jonie’s ‘Kee-ro-ryin’ and Gene’s ‘Rollin’ Danny’, before the more measured pace of Eddie Cochran’s ‘Never’ and ‘Hallelujah I Love Her So’. Liking the version of Ricky Nelson’s ‘Shirley Lee’, and Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’. There was time for Higham standards ‘Dark Haired Woman’ and ‘Big City Blues’, and another Eddie belter, the seminal ‘Somethin’ Else’. The band were tight, loud and proud, and well received, with ‘Ice Cold’ topping it all off for the live music on Saturday.
Dot…..dot. Best tracks played at the HR&B weekender ever ever to ding your Spal for this year were The Midnighters’ ‘Don’t Change Your Pretty Ways’, Cliff’s ‘Dancing Shoes’ (Thanks DJ Mr Big Feet, you knew you wanted to) and The Jaye Sisters ‘Pitter Patter Boom Boom’ ……. Yes yes I know, Jackson Sloan’s elevated stature, just about everyone has an elevated stature next to us, thank you…..DJ The Reverend Boogie is notable for his selection of tunes, prowess on the dance floor, and easy to follow teaching method, however I’d imagine the deckchair-esque stripy short and shirt set on Saturday, will go down in Spalding folklore for sure…….What keeps DJs going behind the decks at Spalding? Gummi Bears, the food of champions it seems……..The unsung heroes of a weekender are the sound guys. The lads here did a top drawer job with every band, conspicuous only by seeing them rolling around the floor at the front of the stage, sliding up and down faders on an iPad (other tablet computers are available)…… Good to see a wide range of stalls at the event, and blue chip ones as well. None of the cobbled together ‘vintage’ stalls that look like a ram raid at the church bazaar here you know…….
It’s not often you’ll hear Johnny and Jonie’s ‘Kee-ro-ryin’ and Gene’s ‘Rollin’ Danny’, before the more measured pace of Eddie Cochran’s ‘Never’ and ‘Hallelujah I Love Her So’. Liking the version of Ricky Nelson’s ‘Shirley Lee’, and Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’. There was time for Higham standards ‘Dark Haired Woman’ and ‘Big City Blues’, and another Eddie belter, the seminal ‘Somethin’ Else’. The band were tight, loud and proud, and well received, with ‘Ice Cold’ topping it all off for the live music on Saturday.
Dot…..dot. Best tracks played at the HR&B weekender ever ever to ding your Spal for this year were The Midnighters’ ‘Don’t Change Your Pretty Ways’, Cliff’s ‘Dancing Shoes’ (Thanks DJ Mr Big Feet, you knew you wanted to) and The Jaye Sisters ‘Pitter Patter Boom Boom’ ……. Yes yes I know, Jackson Sloan’s elevated stature, just about everyone has an elevated stature next to us, thank you…..DJ The Reverend Boogie is notable for his selection of tunes, prowess on the dance floor, and easy to follow teaching method, however I’d imagine the deckchair-esque stripy short and shirt set on Saturday, will go down in Spalding folklore for sure…….What keeps DJs going behind the decks at Spalding? Gummi Bears, the food of champions it seems……..The unsung heroes of a weekender are the sound guys. The lads here did a top drawer job with every band, conspicuous only by seeing them rolling around the floor at the front of the stage, sliding up and down faders on an iPad (other tablet computers are available)…… Good to see a wide range of stalls at the event, and blue chip ones as well. None of the cobbled together ‘vintage’ stalls that look like a ram raid at the church bazaar here you know…….
Tailfins
Sunday, and at 1pm, the first band, blue shirted local lads, the Tailfins, made their return appearance to the festival. With a hefty chunk of the audience having taken part in the freebie dance classes (of which there were three different ones over the weekend), they were ready to put those new moves into practise. The Tailfins set trotted through some well-known dance floor fillers with British Rock n Roll rubbing shoulders with their US counterparts.
So, ‘Move It’, ‘High Class Baby’, ‘Halfway to Paradise’ ‘Brand New Cadillac’ and ‘Shakin’ All Over’, alongside ‘Little Sister’, ‘Rockin’ Rollin’ Stone’, ‘Honky Tonk Man’ and ‘Stray Cat Strut’. You get the picture I’m sure readers.
So, ‘Move It’, ‘High Class Baby’, ‘Halfway to Paradise’ ‘Brand New Cadillac’ and ‘Shakin’ All Over’, alongside ‘Little Sister’, ‘Rockin’ Rollin’ Stone’, ‘Honky Tonk Man’ and ‘Stray Cat Strut’. You get the picture I’m sure readers.
Lew Lewis
A few weeks ago, we’d seen Lew Lewis and his new band, the All Star Trio, and were well impressed. If anything, this show surpassed that one, with Lew as vibrant and fervent as ever on vocals and rhythm guitar. He’s backed now by Billy Wilkes Snr on drums and Billy Wilkes Jnr on upright bass, with lead guitar duties taken by Graham Batt.
This band had the crowd from the get-go, with the kicking ‘My Heart Goes Boom’ starting us off and the outstanding ‘Ooh Now’ following on. This is just a sublime track folks, you gotta check it out. The slow start to ‘Woman in Black’ could lull you, until it bursts out to a powerhouse track. There were covers as well, ‘Modern Don Juan’ for instance, strollers aplenty, and Carl Perkins’ ‘You Can’t Make Love to Somebody (when you’ve got somebody else on your mind)’, a song not recommended as a singalong perhaps! Another fine set from these lads.
This band had the crowd from the get-go, with the kicking ‘My Heart Goes Boom’ starting us off and the outstanding ‘Ooh Now’ following on. This is just a sublime track folks, you gotta check it out. The slow start to ‘Woman in Black’ could lull you, until it bursts out to a powerhouse track. There were covers as well, ‘Modern Don Juan’ for instance, strollers aplenty, and Carl Perkins’ ‘You Can’t Make Love to Somebody (when you’ve got somebody else on your mind)’, a song not recommended as a singalong perhaps! Another fine set from these lads.
B-Sides
The irony of the phrase ‘all the way from’ resonated with the next band, another returnee in the shape of the B-Sides, from down the road in Holbeach. They make a pretty good noise from a lead and bass guitar with drums I can tell you. Stephen, Michael and Craig on lead, bass and drums respectively hit the stage running with Chuck/Buddy’s ‘Brown Eyed Handsome Man’, then ‘Tutti Frutti’ and ‘Rip It Up’. There hadn’t been that many instrumentals played on stage to this point, so hearing the B-Sides’ copy of Link Wray’s ‘Rawhide’ was a treat.
There were tracks I didn’t know during the set, ‘Charley Crockett’ for instance, or ‘Pressure and Time’. They slotted in amongst the likes of ‘Roll On Clickety Clack’, ‘Hey Mae’ and ‘Rock The Joint’. Visually, ace, musically ace plus one!
There were tracks I didn’t know during the set, ‘Charley Crockett’ for instance, or ‘Pressure and Time’. They slotted in amongst the likes of ‘Roll On Clickety Clack’, ‘Hey Mae’ and ‘Rock The Joint’. Visually, ace, musically ace plus one!
Mark Keeley
Heading into the evening now, and the ever-popular Mark Keeley’s Good Rockin Tonight, hereinafter for this lazy typist, MKGRT. Four top class musicians in complete sync with each other, producing a classic Rock n Roll sound, both guitar and piano driven. Mark takes lead vocals, most of the time, rhythm guitar and piano. It was an unusual track to start with, the Barnshakers’ ‘Twenty One’, although don’t get me wrong, this was a cool version. Classic Elvis followed, with ‘Such a Night’, and Ben Hewitt’s ‘Ain’t Giving Up Nothing’, before a real gem.
Kurt Simms on bass took the vocals on the band’s reworking of Don & Juan’s 1961/2 ‘What’s Your Name’. The original on New York City’s Big Top Records, peaked in the US charts at #7. MKGRT have made a more up-tempo version of the super smooth original, with spot on harmony backing vocals. An excellent track. Following that, another first-rate cover, this time ‘Treat Me Nice’ with Mark Keeley on piano.
John O’Malley pitched in with a first-class version of Santos and Johnny’s haunting instrumental, ‘Sleepwalk’, before some British Rock n Roll got an outing with Dickie Pride’s ‘Fabulous Cure’. More coordinated vocals on ‘Zing Went the Strings of my Heart’, astonishingly originally from 1934, before rocking out to ‘Rockabilly Rat’ A really well presented set of tunes.
Kurt Simms on bass took the vocals on the band’s reworking of Don & Juan’s 1961/2 ‘What’s Your Name’. The original on New York City’s Big Top Records, peaked in the US charts at #7. MKGRT have made a more up-tempo version of the super smooth original, with spot on harmony backing vocals. An excellent track. Following that, another first-rate cover, this time ‘Treat Me Nice’ with Mark Keeley on piano.
John O’Malley pitched in with a first-class version of Santos and Johnny’s haunting instrumental, ‘Sleepwalk’, before some British Rock n Roll got an outing with Dickie Pride’s ‘Fabulous Cure’. More coordinated vocals on ‘Zing Went the Strings of my Heart’, astonishingly originally from 1934, before rocking out to ‘Rockabilly Rat’ A really well presented set of tunes.
The Jets
We are hurtling to the finish now, and the eminence of the turns isn’t diminishing at all, with the Jets drawing a crowd at the front of the stage and a gazillion dancers behind, as they powered through ‘Turn Up The Guitar’. The thumping beat of ‘You Just Don’t Know How To Treat Your Man’ was next, with the chart hit ‘Yes Tonight Josephine’ bringing a misty nostalgia that would bring a tear to a glass eye, especially when you hear who the brothers had encountered on those Top of the Pops days (!)
Four Jet originals followed, ‘Cheap Shots and Your Alibis’, ‘Hey Little Doll’ (from the latest CD), Heartbreaker and ‘Lipsticks and Potions’. Ray took the vocals for Sonny Boy Williamson’s ‘Good Morning Little School Girl’, a powerful blues tune with some heavy guitar riffs. As I’ve said before, I don’t think anyone does Johnny Burnette vocals as well as Bob Cotton, and ‘Please Don’t Leave Me’ is the perfect track to showcase them.
‘Thunder Road’ rattled along, and then for something, completely different. Acapella now, with all three at the front of stage for a medley of vocal group tunes. The Rays’ ‘Silhouettes’, the Silhouettes ‘Get a Job’, Gene Chandler’s ‘Duke of Earl’ and the Edsels ‘Rama Lama Ding Dong’. The finale? Well it had to be ‘Fine, Fine, Fine’. They were denied an encore, which didn’t go down too well with the audience, which was a shame, as this was a peach of a show.
Four Jet originals followed, ‘Cheap Shots and Your Alibis’, ‘Hey Little Doll’ (from the latest CD), Heartbreaker and ‘Lipsticks and Potions’. Ray took the vocals for Sonny Boy Williamson’s ‘Good Morning Little School Girl’, a powerful blues tune with some heavy guitar riffs. As I’ve said before, I don’t think anyone does Johnny Burnette vocals as well as Bob Cotton, and ‘Please Don’t Leave Me’ is the perfect track to showcase them.
‘Thunder Road’ rattled along, and then for something, completely different. Acapella now, with all three at the front of stage for a medley of vocal group tunes. The Rays’ ‘Silhouettes’, the Silhouettes ‘Get a Job’, Gene Chandler’s ‘Duke of Earl’ and the Edsels ‘Rama Lama Ding Dong’. The finale? Well it had to be ‘Fine, Fine, Fine’. They were denied an encore, which didn’t go down too well with the audience, which was a shame, as this was a peach of a show.
Roy Thompson and the Mellow Kings
So here we are, the last act of the weekender, and what a coup by the organisers to secure the services of Roy Thompson and the Mellow Kings from France. I think this is what they call ‘compiler’s perks’ with the band being a particular favourite of Neil’s. And by the end of their set they had a whole lot more fans. The anticipation was there right from the social media post of the lads on the ferry from France.
There was so much to appreciate, and all performed with such aplomb, you really had to be there! Jimmy McCracklin’s hot rocker ‘Georgia Slop’ and Lenny Johnson’s 1962 cut on Bethlehem Records ‘Walk Ginny Walk’ setting the bar very high, it was clear that the crowd were loving this type of rockin’ rhythm and blues. The diehards were still filling the floor from start to finish, strolling to ‘Hey Bernadine’, which I think was the flip to Eddie Clearwater’s ‘A Real Good Time’,
Song after song vied for attention, ‘Hard Hearted Woman’, ‘Ride With Me Baby’ and a truly outstanding version of Jessie James’ ‘Red Hot Rockin’ Blues’, along with Louis Jordan’s ‘Ain’t That Just Like a Woman’.
Even a broken string on guitar ace Max Genouel’s guitar couldn’t slow them down, as running repairs took place during the songs. A simply brilliant and varied blend of rocking music, by a band of musicians at the top of their game. A fitting end to the event. ‘Just a Rockin’ and a Rollin’, yes, we certainly were.
So, there it is readers, or there it was, whatever tickles your pickle, Hot Rock n Boogie #2 done and indeed dusted. Massive kudos to Claire and Neil Seabrook for undertaking such a herculean task for a second year. Here are organisers that ask for advice and help from punters, and not only take it on board, but implement change that benefits everyone. This is an event for which the future looks very bright.
There’s a local contingent that populate Boston Jive classes, and also come along to this event. The Bank Holiday certainly assisted the weekender, so the last band isn’t playing to a half empty hall. The bands were diverse, the styles conducive to dancers, watchers and toe-tappers alike.
Next year’s event is already fixed in the diaries of those who were there for this one, with the line up announced, you’d do well to include it in yours.
© Andrew Smith, June Smith, The Bettajive Review, May 2019
There was so much to appreciate, and all performed with such aplomb, you really had to be there! Jimmy McCracklin’s hot rocker ‘Georgia Slop’ and Lenny Johnson’s 1962 cut on Bethlehem Records ‘Walk Ginny Walk’ setting the bar very high, it was clear that the crowd were loving this type of rockin’ rhythm and blues. The diehards were still filling the floor from start to finish, strolling to ‘Hey Bernadine’, which I think was the flip to Eddie Clearwater’s ‘A Real Good Time’,
Song after song vied for attention, ‘Hard Hearted Woman’, ‘Ride With Me Baby’ and a truly outstanding version of Jessie James’ ‘Red Hot Rockin’ Blues’, along with Louis Jordan’s ‘Ain’t That Just Like a Woman’.
Even a broken string on guitar ace Max Genouel’s guitar couldn’t slow them down, as running repairs took place during the songs. A simply brilliant and varied blend of rocking music, by a band of musicians at the top of their game. A fitting end to the event. ‘Just a Rockin’ and a Rollin’, yes, we certainly were.
So, there it is readers, or there it was, whatever tickles your pickle, Hot Rock n Boogie #2 done and indeed dusted. Massive kudos to Claire and Neil Seabrook for undertaking such a herculean task for a second year. Here are organisers that ask for advice and help from punters, and not only take it on board, but implement change that benefits everyone. This is an event for which the future looks very bright.
There’s a local contingent that populate Boston Jive classes, and also come along to this event. The Bank Holiday certainly assisted the weekender, so the last band isn’t playing to a half empty hall. The bands were diverse, the styles conducive to dancers, watchers and toe-tappers alike.
Next year’s event is already fixed in the diaries of those who were there for this one, with the line up announced, you’d do well to include it in yours.
© Andrew Smith, June Smith, The Bettajive Review, May 2019
going west - southport rumble #1
Jake Calypso falls for his audience at Southport
The Infernos
Going west – Southport Rumble #1
Review by Andrew Smith
Just a few days after the Shake Rattle and Roll Weekender on the Norfolk coast, we were back on the road again. This time our business was to the North West of the country, and the new weekender, the Southport Rumble. Now how many of us expected Southport to be in Hampshire or Dorset? No, this is the large seaside Merseyside town, on the coast up by Liverpool, a hefty Pontins camp, set out in blocks of apartments radiating outward in two circles.
This occasion is presented by Rock Ridge events’ Kevin Greener and Tracey Hobbs, who already run the country based Rock Ridge Round Up and the Rock Ridge Rumble over in County Durham, under canvas.
The line up promised variety and diversity, with classic Rock n Roll, Rockabilly, and Doo Wop styles, and indeed the crowd responded, as they turned up in their considerable numbers for Friday’s shows.
The main hall here, is of similar design to the other campsites of it’s type, however this had a raised, sloping section at the back, for seating. Some of the stalls were sited in the bar area, which kind of closed the dancefloor off from the bar area and helped with the general feel of the weekender. The dancefloor itself is one of those fit-for-purpose wooden ones, and the stage is raised and large, which was just as well given some of the turns on
The first band on were over from the North East, the consistently excellent, Infernos. There aren’t many bands that do straight ahead Sun/Starday/Mercury Rockabilly as well as this four piece, featuring Ian and Gary Agar on rhythm guitar and drums respectively, Ian Rhodes on lead guitar and Mick Wheeler on bass.
Yeah, here we go ‘Rockin’ and Rollin’ to grab your attention by its very lapels and hold on throughout. Marlon Grisham’s ‘Ain’t That a Dilly’ just rocks, and the frantic rhythm of Tommy Lam’s ‘Speed Limit’ is a delight. To add light and shade to the set, their take on Carl Perkins’ ‘Where the Rio De Rosa Flows’ was sublime, then offset that with the thundering pace of Johnny Knight’s ‘Rock n Roll Guitar’. Lead vocalist Ian Agar swapped his acoustic rhythm guitar for electric, as the lads presented a kicking version of Tarheel Slim’s ‘Number Nine Train’.
Slowing down again for Carl Perkins/Mann’s ‘Look at that Moon’ before a blast of Benny Joy’s ‘Crash the Party’, and a supercool finale of ‘Love Me’, as in the Phantom. A cracking start to the weekender, with a serious amount of folk in the house already.
Review by Andrew Smith
Just a few days after the Shake Rattle and Roll Weekender on the Norfolk coast, we were back on the road again. This time our business was to the North West of the country, and the new weekender, the Southport Rumble. Now how many of us expected Southport to be in Hampshire or Dorset? No, this is the large seaside Merseyside town, on the coast up by Liverpool, a hefty Pontins camp, set out in blocks of apartments radiating outward in two circles.
This occasion is presented by Rock Ridge events’ Kevin Greener and Tracey Hobbs, who already run the country based Rock Ridge Round Up and the Rock Ridge Rumble over in County Durham, under canvas.
The line up promised variety and diversity, with classic Rock n Roll, Rockabilly, and Doo Wop styles, and indeed the crowd responded, as they turned up in their considerable numbers for Friday’s shows.
The main hall here, is of similar design to the other campsites of it’s type, however this had a raised, sloping section at the back, for seating. Some of the stalls were sited in the bar area, which kind of closed the dancefloor off from the bar area and helped with the general feel of the weekender. The dancefloor itself is one of those fit-for-purpose wooden ones, and the stage is raised and large, which was just as well given some of the turns on
The first band on were over from the North East, the consistently excellent, Infernos. There aren’t many bands that do straight ahead Sun/Starday/Mercury Rockabilly as well as this four piece, featuring Ian and Gary Agar on rhythm guitar and drums respectively, Ian Rhodes on lead guitar and Mick Wheeler on bass.
Yeah, here we go ‘Rockin’ and Rollin’ to grab your attention by its very lapels and hold on throughout. Marlon Grisham’s ‘Ain’t That a Dilly’ just rocks, and the frantic rhythm of Tommy Lam’s ‘Speed Limit’ is a delight. To add light and shade to the set, their take on Carl Perkins’ ‘Where the Rio De Rosa Flows’ was sublime, then offset that with the thundering pace of Johnny Knight’s ‘Rock n Roll Guitar’. Lead vocalist Ian Agar swapped his acoustic rhythm guitar for electric, as the lads presented a kicking version of Tarheel Slim’s ‘Number Nine Train’.
Slowing down again for Carl Perkins/Mann’s ‘Look at that Moon’ before a blast of Benny Joy’s ‘Crash the Party’, and a supercool finale of ‘Love Me’, as in the Phantom. A cracking start to the weekender, with a serious amount of folk in the house already.
|
|
|
Darrel Higham
Darrel Higham and the Enforcers, were up next, with Darrel suffering a cold, that presumably he picked up at Yarmouth the week before, as did we! He opened up with Herbie Smith’s ‘Baby Moon’ and took the crowd on a jaunt through some super fine rockin tracks, including one of our fave jivers, Johnnie and Jonie’s ‘Kee Ro Ryin’. Gene’s ’57 ‘Rollin’ Danny’ track from the LP ‘Gene Vincent Rocks and the Blue Caps Roll’ is well suited to the Enforcer style, and also went down very well.
Slowing it down a bit now for the Eddie Cochran ballad ‘Never’ before picking it up again with ‘Time To Stomp’ which was recorded over a quarter of a century ago! Just saying, feeling old folks?
There’s always time for ‘Dark Haired Woman’, Glenn Glenn’s ‘Blue Jeans and Boy’s Shirt’ the Boss’ ‘I’m On Fire’ and the latter day Rockabilly classic ‘Ice Cold’. Even Robert Gordon got in on the act with an impromptu performance of ‘The Way I Walk’.
Slowing it down a bit now for the Eddie Cochran ballad ‘Never’ before picking it up again with ‘Time To Stomp’ which was recorded over a quarter of a century ago! Just saying, feeling old folks?
There’s always time for ‘Dark Haired Woman’, Glenn Glenn’s ‘Blue Jeans and Boy’s Shirt’ the Boss’ ‘I’m On Fire’ and the latter day Rockabilly classic ‘Ice Cold’. Even Robert Gordon got in on the act with an impromptu performance of ‘The Way I Walk’.
John Lewis of the Rimshots
Welsh wizards, the Rimshots were on next, with the ‘Penarth Pin Up’ John Lewis on vocals and rhythm guitar (without the customary Y Ddraig Goch, which people apparently keep nicking). Heading toward the 5-0 club John sported a birthday badge from the audience, and launched into the set of Rimshot corkers.
There aren’t many bands that take on Barbara Pittman’s ’56 Sun cut ‘Sentimental Fool’, but it’s been standard ‘Shots tune for some years. The slow starting ‘Ramblin’ Man’ Hank Williams’ 1953 ‘B’ side, gradually picks up pace, to a frantic crescendo, and is apparently one of the band’s most requested song. Another audience demand, especially in the North it was suggested, is the laugh out loud ‘That Ain’t a Pussy, That’s a Tiger’, with drummer Mark Kemlo on washboard for this song.
‘Volcano’ ace, the seminal classic ‘One More Beer’ and ‘Planet Bop’ were all up there, and rowdily cheered, so it wasn’t a surprise when they were called back. With his voice perfectly pitched to take on the song, ‘Woodpecker Rock’ rattled along to close a top night.
There aren’t many bands that take on Barbara Pittman’s ’56 Sun cut ‘Sentimental Fool’, but it’s been standard ‘Shots tune for some years. The slow starting ‘Ramblin’ Man’ Hank Williams’ 1953 ‘B’ side, gradually picks up pace, to a frantic crescendo, and is apparently one of the band’s most requested song. Another audience demand, especially in the North it was suggested, is the laugh out loud ‘That Ain’t a Pussy, That’s a Tiger’, with drummer Mark Kemlo on washboard for this song.
‘Volcano’ ace, the seminal classic ‘One More Beer’ and ‘Planet Bop’ were all up there, and rowdily cheered, so it wasn’t a surprise when they were called back. With his voice perfectly pitched to take on the song, ‘Woodpecker Rock’ rattled along to close a top night.
|
|
|
Danny McVey
Saturday arrived with some pretty kind weather, and the first of the afternoon sessions. The Danny McVey Trio have been on our radar for some time, but something always got in the way of actually getting to see them.
No amount of socialising would stop us this time, as Danny, Wayne Harrison on a shiny 1930’s aluminium bass and Morgan Willis on lead guitar set about producing a full and authentic Rockabilly sound for their hour-long set.
The song choice merged their own material with some classic Rockabilly tunes, so well that you could easily think the originals had come direct from the 1950’s. Three came from the 2015 Rollin Records EP, ‘One in a Million’, the title track, ‘French Woman’ and Hello Heartache’. ‘Music is the Only Thing’ also made an appearance rubbing shoulders with the Surf Riders’ ‘I’m Out’, after which Danny made it known that he’d suffered an elbow blister, like how did that happen? All in the name of Rock n Roll folks.
The covers, for example ‘Juke Joint Johnnie’ and ‘I’m Ready’ slotted in well, and the finale of Ken Davis’ ‘Shook Shake’ is perfect for this band’s style. Well folks, that set was worth waiting for.
No amount of socialising would stop us this time, as Danny, Wayne Harrison on a shiny 1930’s aluminium bass and Morgan Willis on lead guitar set about producing a full and authentic Rockabilly sound for their hour-long set.
The song choice merged their own material with some classic Rockabilly tunes, so well that you could easily think the originals had come direct from the 1950’s. Three came from the 2015 Rollin Records EP, ‘One in a Million’, the title track, ‘French Woman’ and Hello Heartache’. ‘Music is the Only Thing’ also made an appearance rubbing shoulders with the Surf Riders’ ‘I’m Out’, after which Danny made it known that he’d suffered an elbow blister, like how did that happen? All in the name of Rock n Roll folks.
The covers, for example ‘Juke Joint Johnnie’ and ‘I’m Ready’ slotted in well, and the finale of Ken Davis’ ‘Shook Shake’ is perfect for this band’s style. Well folks, that set was worth waiting for.
Sharna Mae
So where do we go from there readers? How about Sharna Mae and the Mayhems then? It’s been a while since we’ve seen this four piece, but they haven’t lost a step in that time, hitting the high spots with ‘Love Drunk’ to Start the show.
They mixed up the flavours with original material, covers and duets with instrument swapping throughout. Roxie Williams ‘Fifteen Seconds’ and Joyce Green’s ‘Black Cadillac’ sounded great, and their own ‘Suicide Girl’ isn’t as sinister as the title suggests.
Sharna Mae and James Cook took on three well known duets, with Micky and Sylvia’s ‘No Good Lover’, Kay Starr and Tennessee Ernie Ford’s ‘Ain’t Nobody’s Business’ and Johnny and June Carter Cash’s classic ‘Jackson’.
This was a band on sparkling form, with a tight sound and an enthusiastic delivery, as the cover of ‘Tainted Love’ and their own ‘Sugar in the Tank’ finished the set off.
They mixed up the flavours with original material, covers and duets with instrument swapping throughout. Roxie Williams ‘Fifteen Seconds’ and Joyce Green’s ‘Black Cadillac’ sounded great, and their own ‘Suicide Girl’ isn’t as sinister as the title suggests.
Sharna Mae and James Cook took on three well known duets, with Micky and Sylvia’s ‘No Good Lover’, Kay Starr and Tennessee Ernie Ford’s ‘Ain’t Nobody’s Business’ and Johnny and June Carter Cash’s classic ‘Jackson’.
This was a band on sparkling form, with a tight sound and an enthusiastic delivery, as the cover of ‘Tainted Love’ and their own ‘Sugar in the Tank’ finished the set off.
Lew Lewis
The evening session opened up with Lew Lewis and his newly formed Allstar Trio. With the new look, a slightly different and more ‘in-yer-face’ sound than the Twilight Trio of 2018 and before. With Lew now are Graham Batt on lead guitar Billy Wilkes Snr on drums and Billy Wilkes Jnr on double bass.
This is another act that mixes up their own material with recognisable songs from the 50’s. It was the powerful rocker ‘Makes My Heart Go Boom’ that opened up the show, with the volume cranked right up. Slotting Bob Luman’s ‘This is the Night’ in between ‘Let Me Love You’ and ‘Blow My Mind’ was accomplished planning, and switches in speed to the likes of ‘Modern Don Juan’ fitted the bill.
Two Johnny Horton tunes ‘I’m Coming Home’ and ‘Bull by the Horns’ got an outing and as the set reached its climax, two belting Johnny Burnette tracks ‘Train Kept a’Rollin’ and ‘Tear It Up’ rang out. Like I said, a different Lew Lewis, but a good one nonetheless
This is another act that mixes up their own material with recognisable songs from the 50’s. It was the powerful rocker ‘Makes My Heart Go Boom’ that opened up the show, with the volume cranked right up. Slotting Bob Luman’s ‘This is the Night’ in between ‘Let Me Love You’ and ‘Blow My Mind’ was accomplished planning, and switches in speed to the likes of ‘Modern Don Juan’ fitted the bill.
Two Johnny Horton tunes ‘I’m Coming Home’ and ‘Bull by the Horns’ got an outing and as the set reached its climax, two belting Johnny Burnette tracks ‘Train Kept a’Rollin’ and ‘Tear It Up’ rang out. Like I said, a different Lew Lewis, but a good one nonetheless
The Metrotones
The blue chip act on Saturday for us, and many in the room, were up next, the Metrotones. Featuring the white haired jolly nutter Den Hegarty on bass vocals Paul Solomons and Jon Pannaman on backing vocals, with Dave Tonner taking the lead, this is the dream team of British doo wop and vocal harmony.
The backing band also featured some of the scene’s finest musicians, and it’s good seeing top blues guitarist Jay Gipson (JG and the Ultimates) inserting nicely on lead, with bass ace Connie Everard driving the rhythm.
On they came, launching in to the Hollywood Flames’ ‘Buzz Buzz Buzz’ and immediately the audience was hooked. All Metrotones favourites were there, the Genies’ ‘Who’s That Knocking on my Door’, the Carnations’ ‘Long Tall Girl’ (which if they’d been around in the ‘50’s, could’ve been written for them) and the Videos’ ‘Trickle Trickle’.
It’s not all visual buffoonery though, and it doesn’t detract from the quality of the razor sharp vocal harmony. Nothing will find you out quicker than a voice that’s off in a harmony, though these guys are on the money! Nice segue here folks, as ‘Your Cash Ain’t Nothing But Trash’, the Clovers’ 1954 cut on Atlantic, slowed it down a bit, along with ‘Sh-Boom’.
To round off the original set, three classics, ‘Pretty Little Angel Eyes’, ‘Little Bitty Pretty One’ and ‘Come Go With Me’ that brought a massive cheer and calls for more from the audience. Getting them all back on stage took a while, there’s a lot of the band as well as four vocalists. For the encore it was the Four Tophatters ‘45 Men in a Telephone Booth’ and an awesome version of the Spaniels ‘Goodnight Sweetheart Goodnight’. Excellent stuff.
The backing band also featured some of the scene’s finest musicians, and it’s good seeing top blues guitarist Jay Gipson (JG and the Ultimates) inserting nicely on lead, with bass ace Connie Everard driving the rhythm.
On they came, launching in to the Hollywood Flames’ ‘Buzz Buzz Buzz’ and immediately the audience was hooked. All Metrotones favourites were there, the Genies’ ‘Who’s That Knocking on my Door’, the Carnations’ ‘Long Tall Girl’ (which if they’d been around in the ‘50’s, could’ve been written for them) and the Videos’ ‘Trickle Trickle’.
It’s not all visual buffoonery though, and it doesn’t detract from the quality of the razor sharp vocal harmony. Nothing will find you out quicker than a voice that’s off in a harmony, though these guys are on the money! Nice segue here folks, as ‘Your Cash Ain’t Nothing But Trash’, the Clovers’ 1954 cut on Atlantic, slowed it down a bit, along with ‘Sh-Boom’.
To round off the original set, three classics, ‘Pretty Little Angel Eyes’, ‘Little Bitty Pretty One’ and ‘Come Go With Me’ that brought a massive cheer and calls for more from the audience. Getting them all back on stage took a while, there’s a lot of the band as well as four vocalists. For the encore it was the Four Tophatters ‘45 Men in a Telephone Booth’ and an awesome version of the Spaniels ‘Goodnight Sweetheart Goodnight’. Excellent stuff.
|
|
|
|
Robert Gordon
Last on, and by complete contrast musically, the driving sound of Robert Gordon, backed by Darrel Higham and the Enforcers. The Maryland native is well known among Rockabilly aficionados, for his baritone voice, which has been his trademark for decades.
A genial chap who’d been socialising with the crowd on Friday, now commanded their attention from the stage.
This set was a smooth mixture of different rhythms, opening with the dance floor strolling winner, ‘The Way I Walk’, a reprise from the guest appearance on stage the previous night.
‘Lover Boy’ rocked out, as did ‘Little Boy Blue’, which has a bouncing, almost ‘Mystery Train’ timbre. Indeed ‘Mystery Train made an appearance, Robert’s voice is well suited to the Elvis style, taking ‘Baby Let’s Play House’ and ‘Little Sister’ attest. Two of Gene’s classic ’56 Bluecaps tunes ‘Race with the Devil’ and the smoochy lament ‘I Sure Miss You’ got the Gordon treatment.
A well received set topped off by ‘Red Hot’ concluded a blue chip day of entertainment.
A genial chap who’d been socialising with the crowd on Friday, now commanded their attention from the stage.
This set was a smooth mixture of different rhythms, opening with the dance floor strolling winner, ‘The Way I Walk’, a reprise from the guest appearance on stage the previous night.
‘Lover Boy’ rocked out, as did ‘Little Boy Blue’, which has a bouncing, almost ‘Mystery Train’ timbre. Indeed ‘Mystery Train made an appearance, Robert’s voice is well suited to the Elvis style, taking ‘Baby Let’s Play House’ and ‘Little Sister’ attest. Two of Gene’s classic ’56 Bluecaps tunes ‘Race with the Devil’ and the smoochy lament ‘I Sure Miss You’ got the Gordon treatment.
A well received set topped off by ‘Red Hot’ concluded a blue chip day of entertainment.
Bob Mayson of the Dime Store Dukes
Rumbling dot….dot. Best tracks played at the Rumble ever ever by your chinny chin chin are:- top Saturday night boppin’ to ‘A Gal Called Sal’ by Lightnin’ Hopkins, Gene’s rarely played stroller ‘King of Fools’ and Johnny and Jonie’s ‘Kee Ro Ryin’ …….Me at coffee stand ‘Can I have two white coffees please’. Oik behind counter ‘Errrrrrm’. Me:- ‘Is there a problem?’ Oik:- ‘Errrrrrm, I don’t know how to enter white coffee into the till’ Me:- ‘How about you put ‘two coffees’ through the till and I’ll put my own milk in’. Oik:- ‘Errrrrm yeah, that’ll work’. You couldn’t make it up………Have to flag up the DJs for this weekender readers, they played top drawer tunes whenever they were scheduled, and some had some very unfashionable times. Big up to Poor Boy Paul, Lord Fatkat, Skinny Jim, Tojo, Be Bop Kaz, Danny Brown, Robert ‘The Bosh’ Bosher and Simon Flintstone for keeping that floor moving with some ace tunes…….The whole event was kept moving along by the infectious enthusiasm of MC Gordon Bailey, whose voice just about held up for the three days…….How many people think that Remi of the Spunyboys has pinched his routines from our own Dave Invicta who played with Jake Calypso at the Rumble?........
Sunday, oh, how the time has flown by, and now we are in the hall for another afternoon session, with opening band, the Dime Store Dukes, local band from the surrounding area. Bob Mayson, lead singer and rhythm guitarist, previously we’ve seen him as a bassist, has a good voice for the style the band performs, the likes of Joe Poovey’s ‘Move Around, and the Surf Riders’ ‘I’m Out’.
The strollers were out mid-set with ‘Big Door’ the Bill Haley styled version of ‘Teardrops from my Eyes’ and ‘Cattin’ Around’. Their own composition ‘Ole Hot Rod’ from the CD ‘Look at that Moon’ slotted in well with the covers and drummer Rick Syddall’s vocals on ‘Movin’ On’ and ‘Heart of a Fool’ sounded pretty smooth as well. A really well presented set, from a band sounding mighty fine.
Sunday, oh, how the time has flown by, and now we are in the hall for another afternoon session, with opening band, the Dime Store Dukes, local band from the surrounding area. Bob Mayson, lead singer and rhythm guitarist, previously we’ve seen him as a bassist, has a good voice for the style the band performs, the likes of Joe Poovey’s ‘Move Around, and the Surf Riders’ ‘I’m Out’.
The strollers were out mid-set with ‘Big Door’ the Bill Haley styled version of ‘Teardrops from my Eyes’ and ‘Cattin’ Around’. Their own composition ‘Ole Hot Rod’ from the CD ‘Look at that Moon’ slotted in well with the covers and drummer Rick Syddall’s vocals on ‘Movin’ On’ and ‘Heart of a Fool’ sounded pretty smooth as well. A really well presented set, from a band sounding mighty fine.
Dave Brown of the Hicksville Bombers
Touching down next, the mighty sound of the Hicksville Bombers, Dave Brown, Landon Filer and Paul Saunders. Yes, it was ‘Bombs Away’ with the siren in full wail as the powerful guitar riffs rang out in the hall, with the tune morphing in and out of Johnny Horton’s ‘Bull by the Horns’.
Dave Brown’s guitar style on the orange Gretsch, is such that he’s never still during the solos, half studying the fretboard and half scanning the audience like he’s discovered someone has pinched his wallet.
Much of the Bombers set now is original material, and a lot of this set was from the ‘Danger Road’ release on CD and 10” vinyl, which Dave pointed out on stage that the Bettajive Review has already reviewed, and that June has already seen their ten inch. Yep, we’re at ‘Carry On Southport Rumble’ it seems :D.
‘Low on Gas’ is a bluesy kicker, while the gentle ‘I’ve Changed my Mind’ took the foot off the pedal for a bit.
Back on the high octane stuff again with ‘Danger Road’, ‘Love Substitute’ and ‘Stand up and Fight’ having the audience bouncing around, while the cover of Nick Cave’s ‘Red Right Hand’ (Peaky Blinders) had a slower tempo, almost sinister in style. Covers, yep there were a few, ‘Jungle Rock’ an anthem for many of us of a certain vintage, and the audience inspired insert tune ‘Playboy’ that has been a Bombers staple since God was a boy. Excellent stuff.
Dave Brown’s guitar style on the orange Gretsch, is such that he’s never still during the solos, half studying the fretboard and half scanning the audience like he’s discovered someone has pinched his wallet.
Much of the Bombers set now is original material, and a lot of this set was from the ‘Danger Road’ release on CD and 10” vinyl, which Dave pointed out on stage that the Bettajive Review has already reviewed, and that June has already seen their ten inch. Yep, we’re at ‘Carry On Southport Rumble’ it seems :D.
‘Low on Gas’ is a bluesy kicker, while the gentle ‘I’ve Changed my Mind’ took the foot off the pedal for a bit.
Back on the high octane stuff again with ‘Danger Road’, ‘Love Substitute’ and ‘Stand up and Fight’ having the audience bouncing around, while the cover of Nick Cave’s ‘Red Right Hand’ (Peaky Blinders) had a slower tempo, almost sinister in style. Covers, yep there were a few, ‘Jungle Rock’ an anthem for many of us of a certain vintage, and the audience inspired insert tune ‘Playboy’ that has been a Bombers staple since God was a boy. Excellent stuff.
Lucas and the Dynamos
The evening session began with some serious reflecting jackets, as Lucas and the Dynamos brought their visual and musical style to the Rumble. Thirty years now since the band was formed, so you know what you’re getting. It’s a mix of Haley style stage antics, meeting Freddie Bell and the Bellboys in Gold-lamé. ‘8 o’Clock Time To Rock’ was the curtain raiser, probably not a coincidence that it was the time of the show, with jolly ditties ‘Giddy up a Ding Dong’, ‘Wing Ding’ and ‘Hide ‘n’ Seek’ chivvying the crowd along.
They nod toward the British sound with Tony Crombie’s ‘Red For Danger’ and a jumping take on Bill Haley’s ‘Sweet Sue (just you)’, with instro tracks ‘Bumble Boogie’ (loosely ‘Flight of the Bumble Bee) and the theme from ‘The Munsters’. With the jackets now discarded, ‘so they can last another twenty years’, quipped lead singer Keith Mumbray, ‘Ghost Riders in the Sky’ complete with vocal nonsense, and ‘La Rock n Roll’ completed the set. Inevitably, they were called back for ‘Where’s my Sombrero’, which was a gimmie as the hats were out before the show started. A popular show with many in the crowd (it split this review team!)
They nod toward the British sound with Tony Crombie’s ‘Red For Danger’ and a jumping take on Bill Haley’s ‘Sweet Sue (just you)’, with instro tracks ‘Bumble Boogie’ (loosely ‘Flight of the Bumble Bee) and the theme from ‘The Munsters’. With the jackets now discarded, ‘so they can last another twenty years’, quipped lead singer Keith Mumbray, ‘Ghost Riders in the Sky’ complete with vocal nonsense, and ‘La Rock n Roll’ completed the set. Inevitably, they were called back for ‘Where’s my Sombrero’, which was a gimmie as the hats were out before the show started. A popular show with many in the crowd (it split this review team!)
Jake Calypso
By day Herve Loison is a quiet guy from France around the camp, but for an hour on Sunday, he introduced the crowd to Jake Calypso, an acrobatic, multi pitched vocalist and energetic performer that covered all the stage and some points within the audience. In amongst all that, his band Red Hot, and there were also some songs! I’m sure many are familiar with ‘My Baby Rocks’ and the sing-along ‘Call Me Baby’ with the audience on ‘uppa buppa buppa buppa bups’.
The French language track ‘C’est Ca Qu’est Bon’ (That’s what is good), ‘Cassie Magikal’ ‘I’m Fed Up’ and ‘I’m a Real Cool Cat’ rattled along, as the stage show went from falling over the front of the stage, to head stands around the drums and crowd surfing. I’m not sure how many octaves his voice covers, but it’s hugely variable. With ‘Gonna Bring You Back’ ending the show, the audience were rapturous in their appreciation. What a breathless show to watch, let alone be involved with.
The French language track ‘C’est Ca Qu’est Bon’ (That’s what is good), ‘Cassie Magikal’ ‘I’m Fed Up’ and ‘I’m a Real Cool Cat’ rattled along, as the stage show went from falling over the front of the stage, to head stands around the drums and crowd surfing. I’m not sure how many octaves his voice covers, but it’s hugely variable. With ‘Gonna Bring You Back’ ending the show, the audience were rapturous in their appreciation. What a breathless show to watch, let alone be involved with.
The Spunyboys
And finally, as they say on the news, the Spunyboys, again from France. An explosive show to end the night with, as this trio from northern France who have been tearing it up for thirteen years now, set about their audience with typical passion. There’s bass standing, dancing around with it, throwing it in the air and catching, you name it, it’s there.
It’s OK having an acrobatic stage show, as long as you can back it up with some decent music, and the guys do it pretty well you know. Interestingly though, when Remi and his gravity defying quiff go running around the audience, the songs can be incidental. They don’t have a set list per se, more like a catalogue of songs that are just decided upon as the show goes along. For the record though, ‘Rockin’ Bones’ was in there, the band’s favourite artist, Little Richard’s ‘Baby Face’, the Cochran Brothers’ ‘Latch On’, a nod to Crazy Cavan with ‘Teddy Boy Boogie’ and Lee Dresser’s ‘El Camino Real.
To finish off, they were joined by Jake Calypso for a blast of Ray Harris’ ‘C’mon Little Mama’ who also threw Remi’s bass in the air and (fortunately) caught it. Another call for an encore brought them back for the foot stomping’ bottle bashing ‘How Low Do You Feel’. A kick a*se way to end the first Southport Rumble.
With Monday dawning, and farewells taking place in the car park, outside chalets and in reception, the general feel was that this is the start of something really good. Kevin Greener and Tracy Hobbs have already got the line up for next year, with Sonny West, Al Dual, Maryann and the Hi-Flyin’ Combo and Bamboozle included. The intermingling of different music styles, straight ahead Rock n Roll, Rockabilly, Doo Wop, R&B and Western Swing, both from the decks and the stage, ensured there was something for everyone. The dance floor is just the job, the stalls, varied and well known.
This is now the rockin’ little sister, age-wise, to the Rock Ridge Rumble, that takes place in the North East in August, so check out the dates and line up for 2020.
© Andrew Smith, June Smith, The Bettajive Review, April 2019
It’s OK having an acrobatic stage show, as long as you can back it up with some decent music, and the guys do it pretty well you know. Interestingly though, when Remi and his gravity defying quiff go running around the audience, the songs can be incidental. They don’t have a set list per se, more like a catalogue of songs that are just decided upon as the show goes along. For the record though, ‘Rockin’ Bones’ was in there, the band’s favourite artist, Little Richard’s ‘Baby Face’, the Cochran Brothers’ ‘Latch On’, a nod to Crazy Cavan with ‘Teddy Boy Boogie’ and Lee Dresser’s ‘El Camino Real.
To finish off, they were joined by Jake Calypso for a blast of Ray Harris’ ‘C’mon Little Mama’ who also threw Remi’s bass in the air and (fortunately) caught it. Another call for an encore brought them back for the foot stomping’ bottle bashing ‘How Low Do You Feel’. A kick a*se way to end the first Southport Rumble.
With Monday dawning, and farewells taking place in the car park, outside chalets and in reception, the general feel was that this is the start of something really good. Kevin Greener and Tracy Hobbs have already got the line up for next year, with Sonny West, Al Dual, Maryann and the Hi-Flyin’ Combo and Bamboozle included. The intermingling of different music styles, straight ahead Rock n Roll, Rockabilly, Doo Wop, R&B and Western Swing, both from the decks and the stage, ensured there was something for everyone. The dance floor is just the job, the stalls, varied and well known.
This is now the rockin’ little sister, age-wise, to the Rock Ridge Rumble, that takes place in the North East in August, so check out the dates and line up for 2020.
© Andrew Smith, June Smith, The Bettajive Review, April 2019
Blown away - shake rattle and roll #17
The Roosters
Shake Rattle and Roll #17
Review by Andrew Smith
March, either comes in like a lamb and goes out like a lion, or the other way around. Or, the middle bit rattles by at a constant 50mph, as were the winds in North Norfolk for the seventeenth Shake Rattle and Roll event. Hosted by Parkdean Resorts, the Acle Straight Holiday Park, for many, represents the first weekender of their new(ish) calendar.
We, for the first time, arrived on the Thursday, to take in a couple of bands and DJs in the smaller hall, the V Lounge, sited off to the left and slightly around the back of the main hall. The familiar profile of Andy Munday silhouetted behind the decks fired the metaphorical starting pistol, with an hour-long session for the early arrivals.
First band on, playing to a decent headcount in the room, returning trio, the Roosters. Their set ticked along nicely from the start, and contained within were tunes that epitomise this event. For example, ‘I Ain’t Giving Up Nothing’, and ‘Pledge of a Fool’. Two well presented stroll tunes from the lads that guarantee a full floor of strollers. To that end, the choice of the V lounge instead of the V Arena, saw the rather small dancefloor oversubscribed, if you get my drift.
The Roosters set list catalogue is wide ranging, from Elvis to the Go Getters, from ‘Stuck on You’ and ‘Paralysed’ through ‘No Heart to Spare’. It was an hour long set that, to call it a warm up, would do an injustice to. A solid start to the festival.
Review by Andrew Smith
March, either comes in like a lamb and goes out like a lion, or the other way around. Or, the middle bit rattles by at a constant 50mph, as were the winds in North Norfolk for the seventeenth Shake Rattle and Roll event. Hosted by Parkdean Resorts, the Acle Straight Holiday Park, for many, represents the first weekender of their new(ish) calendar.
We, for the first time, arrived on the Thursday, to take in a couple of bands and DJs in the smaller hall, the V Lounge, sited off to the left and slightly around the back of the main hall. The familiar profile of Andy Munday silhouetted behind the decks fired the metaphorical starting pistol, with an hour-long session for the early arrivals.
First band on, playing to a decent headcount in the room, returning trio, the Roosters. Their set ticked along nicely from the start, and contained within were tunes that epitomise this event. For example, ‘I Ain’t Giving Up Nothing’, and ‘Pledge of a Fool’. Two well presented stroll tunes from the lads that guarantee a full floor of strollers. To that end, the choice of the V lounge instead of the V Arena, saw the rather small dancefloor oversubscribed, if you get my drift.
The Roosters set list catalogue is wide ranging, from Elvis to the Go Getters, from ‘Stuck on You’ and ‘Paralysed’ through ‘No Heart to Spare’. It was an hour long set that, to call it a warm up, would do an injustice to. A solid start to the festival.
The Hotshots
The other band to hit the stage, were another trio, the Hotshots, featuring Joe Newbon of the Runawayz notoriety and two of Phil Haley’s Comments, Martyn Savage on upright bass and Gary Davidson on drums. This set was a more straight ahead, no nonsense Rockabilly based collection of cool vibes, opening with Johnny Knight’s ‘Rock n Roll Guitar’. The vocals were shared throughout among the three lads. ‘Jungle Rock’ thumped along, and morphed into ‘Honey Don’t’, ‘Pretty Bad Blues’ and ‘Teenage Heaven’ were also delivered with considerable assurance.
With the pace ratcheted up, and indeed the volume, tracks like Gene’s rarely covered ‘Crazy Legs’ and Johnny Kidd’s ‘Please Don’t Touch’ really hit home, before the lads had to dash off to Sweden, after ‘Your Baby Blue Eyes’ concluded a kicking set.
With the pace ratcheted up, and indeed the volume, tracks like Gene’s rarely covered ‘Crazy Legs’ and Johnny Kidd’s ‘Please Don’t Touch’ really hit home, before the lads had to dash off to Sweden, after ‘Your Baby Blue Eyes’ concluded a kicking set.
Greggi G
Friday morning dawned with a howling gale outside, wobbling the caravans on their moorings and causing the birds to fly sideways. New arrivals trundled in, and battled the tempest, walking at a 45-degree angle to get their bags into the accommodation. The evening, and for many the weekend proper, started with recurrent attendees, Greggi G and the Crazy Gang opening the evening’s entertainment.
Bassman Greggi takes the lead vocals as well, during a mainly well-known set of songs. But hey, it got the crowd out dancing even at this early stage, with ‘Jump For Joy’ firing the starting pistol. ‘Modern Don Juan’, ‘Walking After Midnight’ you get the tempo I’m sure, and within that, a segue of Junior Brown’s ‘My Wife Thinks You’re Dead’ which I don’t think I’ve heard covered at such an event before, ‘My Veronica’ and ‘I Fought The Law’ were all crowd pleasers, as Greggi engaged with the audience in a humorous and rather self-deprecating way
Bassman Greggi takes the lead vocals as well, during a mainly well-known set of songs. But hey, it got the crowd out dancing even at this early stage, with ‘Jump For Joy’ firing the starting pistol. ‘Modern Don Juan’, ‘Walking After Midnight’ you get the tempo I’m sure, and within that, a segue of Junior Brown’s ‘My Wife Thinks You’re Dead’ which I don’t think I’ve heard covered at such an event before, ‘My Veronica’ and ‘I Fought The Law’ were all crowd pleasers, as Greggi engaged with the audience in a humorous and rather self-deprecating way
Mark Keeley
More crowd pleasers on next with Mark Keeley’s Good Rockin Tonight, (MKGRT for this lazy scribe) on what I guess might have been a new CD launch event as the said item had arrived that very day (The Bettajive Review has a copy, look out for reviews later). Now we’ve seen this band in many an environment, and one of their most memorable performances came at Twinwood a number of years ago for us. This one topped the lot, as they were on sparkling form right from the get go.
Switching for rhythm guitar to keyboards, the selection of songs had the audience out on the floor from the first note of ‘Marie Marie’ to the last of ‘Hot Dog’ and all points in between. Harmony vocals were spot on, and I don’t think I’ve heard a better version of ‘Treat Me Nice’ this side of Graceland. More MKGRT standards like ‘Hey Mae’ and ‘I Might’ featured as well as a simply sublime recounting of Santos and Johnny’s ‘Sleepwalk’ with John O’Malley’s fret-perfect guitar work.
Switching for rhythm guitar to keyboards, the selection of songs had the audience out on the floor from the first note of ‘Marie Marie’ to the last of ‘Hot Dog’ and all points in between. Harmony vocals were spot on, and I don’t think I’ve heard a better version of ‘Treat Me Nice’ this side of Graceland. More MKGRT standards like ‘Hey Mae’ and ‘I Might’ featured as well as a simply sublime recounting of Santos and Johnny’s ‘Sleepwalk’ with John O’Malley’s fret-perfect guitar work.
Marcel Riesco
On to one of the two tribute shows now, with Marcel Riesco visiting the event for the first time, presenting the Roy Orbison Tribute show. Now readers, bear in mind that word ‘tribute’, which by definition is something one does to show respect and admiration, it is not impersonation. Marcel has an uncanny vocal similarity to the Big O, and takes on a lot of his back catalogue, exploring the lesser known as well as the instantly recognisable, as per the opening number ‘Ooby Dooby’, with ‘Rockhouse’ hot on the heels.
Next up ‘You’re Gonna Cry’, rarely heard covered and spot on lead guitar sound, along with ‘Problem Child’. Sharp eyed readers will have noted that the above are all from the 1961 Sun album ‘Roy Orbison at the Rockhouse’ with tracks recorded between ’56 & ’58, and issued after Orbison had moved to Monument Records.
Marcel also took on Ronnie Smith’s ‘Long Time, No Love’, which was written by Roy, in amongst ‘Blue Bayou’, ‘Domino and ‘Down The Line’, and an upbeat ballad from ’62, ‘Uptown’. Fortunately we got double bubble with the encore, ‘Only the Lonely’ and a real curve ball ‘Cast Iron Arm’. First class.
Next up ‘You’re Gonna Cry’, rarely heard covered and spot on lead guitar sound, along with ‘Problem Child’. Sharp eyed readers will have noted that the above are all from the 1961 Sun album ‘Roy Orbison at the Rockhouse’ with tracks recorded between ’56 & ’58, and issued after Orbison had moved to Monument Records.
Marcel also took on Ronnie Smith’s ‘Long Time, No Love’, which was written by Roy, in amongst ‘Blue Bayou’, ‘Domino and ‘Down The Line’, and an upbeat ballad from ’62, ‘Uptown’. Fortunately we got double bubble with the encore, ‘Only the Lonely’ and a real curve ball ‘Cast Iron Arm’. First class.
Darrel Higham
Topping the night off, the ubiquitous Darrel Higham and the Enforcers, with a revamped set from previous encounters, launching into Herbie Smith’s ‘Baby Moon’, and one of June’s favourite jivers in the world ever ever, Johnny and Jonie’s ‘Kee Ro Ryin’ from 1958. A cool version of Gene’s ‘Rollin’ Danny’ plus Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’ mixed it up well with ‘Time to Stomp’ ‘Big City Blues’ and ‘Dark Haired Woman’.
It wouldn’t be a Darrel set without some Eddie Cochran, and ‘Somethin’ Else’ fair took the roof off, and the Boss’ ‘I’m On Fire’ is also a must have. The modern day Rockabilly classic, ‘Ice Cold’ ended the show, along with a powerhouse take on ‘Rockabilly Boogie’. Fitting end to the first day proper.
Oi, DJ. Missing from the line up this year, Wildcat Pete, who’d just returned home after a stay in hospital. Heading up the DJs again was the ever present loocal blooke Rockin’ Eddie, also taking on much of the MC duties, ably supported by Wolfie Smith, Red Hot & Rockin, Mad Andy Munday, and Simply Vinyl. A very dance orientated crowd were kept busy throughout the festival, although I feel a bit for them, having only thirty minutes a set in the evenings. Gold stars for Wolfie, playing ‘Long Haul Trucker’ by Jerry King and the Rivertown Ramblers for some late night boppin’, Simon ‘Simply Vinyl’ Whitcombe for Sammy Masters’ ‘Golden Slippers’ and Eddie for the original ‘Pretty Lou’ by Buck Griffin, which dare I say, is better than the more popular (here anyway) Hayden Thompson version.
It wouldn’t be a Darrel set without some Eddie Cochran, and ‘Somethin’ Else’ fair took the roof off, and the Boss’ ‘I’m On Fire’ is also a must have. The modern day Rockabilly classic, ‘Ice Cold’ ended the show, along with a powerhouse take on ‘Rockabilly Boogie’. Fitting end to the first day proper.
Oi, DJ. Missing from the line up this year, Wildcat Pete, who’d just returned home after a stay in hospital. Heading up the DJs again was the ever present loocal blooke Rockin’ Eddie, also taking on much of the MC duties, ably supported by Wolfie Smith, Red Hot & Rockin, Mad Andy Munday, and Simply Vinyl. A very dance orientated crowd were kept busy throughout the festival, although I feel a bit for them, having only thirty minutes a set in the evenings. Gold stars for Wolfie, playing ‘Long Haul Trucker’ by Jerry King and the Rivertown Ramblers for some late night boppin’, Simon ‘Simply Vinyl’ Whitcombe for Sammy Masters’ ‘Golden Slippers’ and Eddie for the original ‘Pretty Lou’ by Buck Griffin, which dare I say, is better than the more popular (here anyway) Hayden Thompson version.
Richie and the Rockets
Saturday saw the first of the afternoon sessions in the main hall, with Richie and the Rockets taking the stage in front of a hefty headcount. It’s been a while since we’d seen them play live (their CD review appears in the CD reviews section of our website), the last time being in the club environment at Yaxley.
Immediately the class shone through with the opening number ‘Zing Went the Strings of my Heart’ a 1930’s song given the rock n roll rhythmic beat to really good effect. Similarly, the reworking of Martha Mears’ 1949 ballad ‘My Foolish Heart’. Giving it a bouncy tempo, this tune filled the floor from the opening bars. ‘Little Bitty Pretty One’, ‘Come on and Dance With Me’ and ‘Hypnotised’ hit the mark, however it was three ladies names in three separate songs that stood out.
‘Oh Rosemarie’, ‘Lana’ and the 1931 Gracie Fields song ‘Sally’ were tip top vocally and musically, especially as it turns out, this was Richie’s first show for three months. The lads then veered away from the early stuff, taking on Joey Simeone’s ‘Your Love is all I’m Missing’, more in the JD McPherson style than Bellfuries, plus Scotty Baker’s ‘Pop The Question’ and JD’s ‘Scratchin Circles’
Massive reaction from the crowd and deservedly so, for these guys, who were called back for two well-earned encores.
Immediately the class shone through with the opening number ‘Zing Went the Strings of my Heart’ a 1930’s song given the rock n roll rhythmic beat to really good effect. Similarly, the reworking of Martha Mears’ 1949 ballad ‘My Foolish Heart’. Giving it a bouncy tempo, this tune filled the floor from the opening bars. ‘Little Bitty Pretty One’, ‘Come on and Dance With Me’ and ‘Hypnotised’ hit the mark, however it was three ladies names in three separate songs that stood out.
‘Oh Rosemarie’, ‘Lana’ and the 1931 Gracie Fields song ‘Sally’ were tip top vocally and musically, especially as it turns out, this was Richie’s first show for three months. The lads then veered away from the early stuff, taking on Joey Simeone’s ‘Your Love is all I’m Missing’, more in the JD McPherson style than Bellfuries, plus Scotty Baker’s ‘Pop The Question’ and JD’s ‘Scratchin Circles’
Massive reaction from the crowd and deservedly so, for these guys, who were called back for two well-earned encores.
The Jets
The evening started with a kicking set by the Jets. If ever there was a go-to band to rev up your crowd, it’s the Jets, now embarking on their 41st year performing. The familiar thump of ‘You Just Don’t Know How To Treat Your Man’ set the tone with a powerful version of ‘Rockabilly Boogie’ and their big hit ‘Yes, Tonight Josephine’ rattling along behind, and ‘No One Loves You Like Your Mother Does’ keeping the pace. Strollers were out to ‘Heart Breaker’ and ‘Let’s Talk All Night’.
Bringing Tony to the front, the ever popular ‘Millionaire Hobo’ (The Fantastics from 1959) was a huge hit, along with Ray’s orthopaedic boot (still connected to his leg you understand) on Tony’s shoulder during the instrumental break. The volume was pumped up again with the commanding beat of ‘Thunder Road’, and even a bit of time given for one of the latest recordings, ‘Little Doll’. Such a quality set, they have to finish up with the join-in anthem of ‘Fine Fine Fine’ which topped off a typically professional, polished and of course rocking set.
Bringing Tony to the front, the ever popular ‘Millionaire Hobo’ (The Fantastics from 1959) was a huge hit, along with Ray’s orthopaedic boot (still connected to his leg you understand) on Tony’s shoulder during the instrumental break. The volume was pumped up again with the commanding beat of ‘Thunder Road’, and even a bit of time given for one of the latest recordings, ‘Little Doll’. Such a quality set, they have to finish up with the join-in anthem of ‘Fine Fine Fine’ which topped off a typically professional, polished and of course rocking set.
Lucas and the Dynamos
Lookout, it’s the Lamé clad five piece that is Lucas and the Dynamos, also celebrating a milestone, yes folks, it’s thirty years since they started. You need a big stage with these guys, as a lot of the show is visual and energetic, with ‘Shake Rattle and Roll’, ‘Giddy Up a Ding Dong’ and ‘Red Planet Rock’ injecting some pace to the rapidly filling dance floor. ‘Bumble Boogie’ is heavily features sax player Alan, an instrumental, involving aerials, running on the spot and formation sliding, which if that doesn’t paint the prettiest of pictures, I don’t know what will.
There were plenty down the front appreciating ‘8 o’clock Rock’, ‘Little Pig’, ‘Red for Danger’ and ‘Saints Rock n Roll’ while the sound effects for ‘Ghost Riders in the Sky’, were rather too accurate for comfort. Party time ended a bit too quickly for many as they were called back on for an encore, donning the Mexican hats, those that they have left cos people keep nicking them, observed lead singer Keith, for ‘Sombrero’. An extremely well appreciated set.
There were plenty down the front appreciating ‘8 o’clock Rock’, ‘Little Pig’, ‘Red for Danger’ and ‘Saints Rock n Roll’ while the sound effects for ‘Ghost Riders in the Sky’, were rather too accurate for comfort. Party time ended a bit too quickly for many as they were called back on for an encore, donning the Mexican hats, those that they have left cos people keep nicking them, observed lead singer Keith, for ‘Sombrero’. An extremely well appreciated set.
Scott Elvis
The second tribute event was up next, the Buddy Holly show, featuring Darrel Higham, Bob Cotton and Marcel Riesco sharing the vocals (no one trying to be a sound-a-like incidentally). It was an instrumental that started it off though, ‘Holly Hop’. Naturally there was a slew initially toward the earliest Holly recordings with Darrel, taking on ‘I’m Looking for Someone to Love’, ‘Brown Eyed Handsome Man’ and ‘Don’t Come Back Knockin’. Liked a lot that the lads performed the Jack Huddle tune ‘Starlight’ which Buddy played on as a session musician in ’57.
Bob Cotton took over the vocals with ‘Rock Around with Ollie Vee’, the suggestive lyrics of ‘Midnight Shift’, the lament that is ‘Blue Days Black Nights’ and ‘Peggy Sue’, which was superbly driven along by the deft drumming of Rob Tyler. Bob finished with one of the all time Buddy greats, ‘That’ll be the Day’ with reference to the 1973 film of that name with David Essex, Billy Fury and Ringo Starr, and the influence the song had on him.
For the final session, Marcel Riesco opened up with ‘Down The Line’, a song that he is perfectly suited to vocally. ‘Love Me’, ‘Baby Won’t You Come Out Tonight’ and a rollicking version of ‘Oh Boy!’ concluded an ace show. Naturally they were all called back for the Holly anthem of ‘Rave On’. Excellent.
Rounding it all off for Saturday, Scott Elvis, and a collective band of Allstars. I suppose you could say that this was another tribute show, even though it wasn’t billed as one. Scott looking dapper in his white and blue checked jacket, presented a set of well known Elvis tunes that were just the ticket for the diehards that were still rocking the house. Many favourites were in there, ‘Teddy Bear’ ‘Ain’t That Loving You Baby’, ‘Mess Of The Blues’ ‘Western Union’ and ‘I Beg of You’. All packaged together, performed well and delights for the dancers.
Bob Cotton took over the vocals with ‘Rock Around with Ollie Vee’, the suggestive lyrics of ‘Midnight Shift’, the lament that is ‘Blue Days Black Nights’ and ‘Peggy Sue’, which was superbly driven along by the deft drumming of Rob Tyler. Bob finished with one of the all time Buddy greats, ‘That’ll be the Day’ with reference to the 1973 film of that name with David Essex, Billy Fury and Ringo Starr, and the influence the song had on him.
For the final session, Marcel Riesco opened up with ‘Down The Line’, a song that he is perfectly suited to vocally. ‘Love Me’, ‘Baby Won’t You Come Out Tonight’ and a rollicking version of ‘Oh Boy!’ concluded an ace show. Naturally they were all called back for the Holly anthem of ‘Rave On’. Excellent.
Rounding it all off for Saturday, Scott Elvis, and a collective band of Allstars. I suppose you could say that this was another tribute show, even though it wasn’t billed as one. Scott looking dapper in his white and blue checked jacket, presented a set of well known Elvis tunes that were just the ticket for the diehards that were still rocking the house. Many favourites were in there, ‘Teddy Bear’ ‘Ain’t That Loving You Baby’, ‘Mess Of The Blues’ ‘Western Union’ and ‘I Beg of You’. All packaged together, performed well and delights for the dancers.
Sweet Georgia Boys
For the final day, a band that was new to us, the Sweet Georgia Boys, with more words in their name, than members in the band. Bill Crittenden, rhythm guitarist with the Kingcats, lead guitarist with the Roosters and for this band, drummer. He is joined by Jim Hammond, now the keyboardist with the Kingcats and a list of collaborations longer than your arm. So just keyboards and drums, how’s that going to sound? Well, read on….
The opening track, a standard boogie woogie romp ‘Down the Road a Piece’ from 1940, set it all up, followed by a respectful but fascinating harmonious take on Charlie Gracie’s ‘Fabulous’. I really liked the vocal style on this track. Similarly, their version of the Everly Brothers’ ‘When Will I be Loved’ not only filled the floor with strollers, the vocal harmony stuck in the mind for all the right reasons.
Sure there were a number of standards within the set, the likes of ‘Flip Flop and Fly’ ‘Ain’t Giving Up Nothing’, and ‘Whole Lotta Shaking Going On’. But interspersed among them, some less often heard gems, like Bill’s take on the Mavericks’ ‘I Don’t Care If You Love Me Anymore’, Jerry Lee Lewis’ earliest recording ‘At The End of the Road and Carl Mann’s ‘Look at That Moon’, featuring more great harmonies. Bill’s signature Kingcats tune, ‘Time of My Life’ got an outing, before ‘Drinking Wine Spo dee o Dee’ morphing into ‘I’m Ready’ ended the set.
Indeed they were not going anywhere, as they were called back for two encores, incorporating harmonica in ‘Mean Ol Train’ and the Killers’ ‘I’m On Fire’. A real full sound from just two instruments, and two vocalists on fine form.
The opening track, a standard boogie woogie romp ‘Down the Road a Piece’ from 1940, set it all up, followed by a respectful but fascinating harmonious take on Charlie Gracie’s ‘Fabulous’. I really liked the vocal style on this track. Similarly, their version of the Everly Brothers’ ‘When Will I be Loved’ not only filled the floor with strollers, the vocal harmony stuck in the mind for all the right reasons.
Sure there were a number of standards within the set, the likes of ‘Flip Flop and Fly’ ‘Ain’t Giving Up Nothing’, and ‘Whole Lotta Shaking Going On’. But interspersed among them, some less often heard gems, like Bill’s take on the Mavericks’ ‘I Don’t Care If You Love Me Anymore’, Jerry Lee Lewis’ earliest recording ‘At The End of the Road and Carl Mann’s ‘Look at That Moon’, featuring more great harmonies. Bill’s signature Kingcats tune, ‘Time of My Life’ got an outing, before ‘Drinking Wine Spo dee o Dee’ morphing into ‘I’m Ready’ ended the set.
Indeed they were not going anywhere, as they were called back for two encores, incorporating harmonica in ‘Mean Ol Train’ and the Killers’ ‘I’m On Fire’. A real full sound from just two instruments, and two vocalists on fine form.
Rockhouse
The final evening had arrived much too quickly, but here we all were for Rockhouse. Headed by Bob Plumb, this band is as close as I get to nostalgia, being one of the first I saw in the 70’s, the first band I recalled having an upright bass and actually slapping it, and having their photo on my wall during that time. Bob is the last of the original band founded in 1975, and still taking on the vocals as well as slapping the bass.
Back in the day, this band were the first to take on tunes like Sammy Masters’ ‘Rockin’ Redwing’, when many others were still doing ‘Johnny B Goode’ (badly). It was good to hear that tune midway through the set. ‘R-O-C-K’, ‘Hey Then There Now’, ‘Mambo Rock’, Real Rock Drive’, do they like Bill Haley? You think? And ‘Hide and Seek’ (Bill or Joe Turner, up to you).These tracks all featured in the set, as well as a corking instrumental stroller, the ‘Theme From Peter Gunn’ the Private Eye show of the late 50’s early 60’s, for those of a certain age, or Kenny Everett’s Sid Snot for those of my age, and Spongebob Squarepants for those much younger (or big kids). Loved the wailing sax on this. Solid set to begin the evening with from the lads in red.
Back in the day, this band were the first to take on tunes like Sammy Masters’ ‘Rockin’ Redwing’, when many others were still doing ‘Johnny B Goode’ (badly). It was good to hear that tune midway through the set. ‘R-O-C-K’, ‘Hey Then There Now’, ‘Mambo Rock’, Real Rock Drive’, do they like Bill Haley? You think? And ‘Hide and Seek’ (Bill or Joe Turner, up to you).These tracks all featured in the set, as well as a corking instrumental stroller, the ‘Theme From Peter Gunn’ the Private Eye show of the late 50’s early 60’s, for those of a certain age, or Kenny Everett’s Sid Snot for those of my age, and Spongebob Squarepants for those much younger (or big kids). Loved the wailing sax on this. Solid set to begin the evening with from the lads in red.
The Heartbeats
The Heartbeats, are a trio that we haven’t seen since Lee Gosher joined them on lead guitar. Clearly listening to their set, that has been a boost for them, with Lee sharing vocals with bassist Grantley Kingscott, backed by one of the jolliest drummers in rock n roll, Steve Evans. Cool versions of Johnny Horton tracks, ‘Honkytonk Hardwood Floor’, ‘Honkytonk Man’ and ‘Bull By The Horns’ for example.
Their own jive beat tune ‘Pretty Louisa’ made a welcome appearance, among blue chip dancefloor stuff like ‘Stood Up’, ‘Sweethearts and Strangers’ and ‘Cincinnati Fireball’. Not for the first time, the crowd were involved with the foot stomping and glass bouncing ‘How Low Do You Feel’. Very popular band, and a good show.
Their own jive beat tune ‘Pretty Louisa’ made a welcome appearance, among blue chip dancefloor stuff like ‘Stood Up’, ‘Sweethearts and Strangers’ and ‘Cincinnati Fireball’. Not for the first time, the crowd were involved with the foot stomping and glass bouncing ‘How Low Do You Feel’. Very popular band, and a good show.
Earl Jackson
The main event for Sunday, Earl Jackson, took to the stage dressed in his all white outfit, slinging his cherry red Gibson guitar and launched into a typically energetic and active performance. He was all over the stage, sweating profusely, so much so, he could’ve done with some guttering. Many make comparisons with the late Chuck Berry, and his extended version of ‘No Particular Place To Go’ would give weight to that claim. Duck-walking and a myriad of fascial expressions, are all part of an act that is as musically accomplished, as it is vocally.
More Chuck tunes featured during the hour long set, ‘You Never Can Tell’, ‘Little Queenie’ and ‘Roll Over Beethoven’ for example, as well as some diversions with the Sonics’ style ‘Have Love Will Travel’, and a corking take on Howlin’ Wolf’s ‘Howlin For My Baby’ and a really well presented ‘Deep Sea Ball’. A hot show by the cool dude.
More Chuck tunes featured during the hour long set, ‘You Never Can Tell’, ‘Little Queenie’ and ‘Roll Over Beethoven’ for example, as well as some diversions with the Sonics’ style ‘Have Love Will Travel’, and a corking take on Howlin’ Wolf’s ‘Howlin For My Baby’ and a really well presented ‘Deep Sea Ball’. A hot show by the cool dude.
The Firebirds
And finally, the Firebirds, a massively popular trio with the crowd, presenting a really diverse songs list that swung from Dave Edmunds’ ‘King of Love’ all the way to Pytor Ilych Tchaikovsky’s ‘Swan Lake’ from 1875 (betcha never thought you’d see that name in the Bettajive Review’). Strollers akin to ‘Teenage Heaven’ the ubiquitous ‘Pledge of a Fool’ and ‘Wildcat/My Way/The Wanderer’ filled the floor, and with the pace increasing, ‘Rock This Town’ and ‘Old Black Joe/My Bonnie’ whipped the stop-outs up at the front. The encore, ‘Rockabilly Rebel’ topped off the live shows for the weekend with considerable energy.
The seventeenth annual event maintained the quality of previous events, the bands and the DJs all ran efficiently to time. One observation, not a single female performer or DJ this time. There is the promise of an event in 2020, despite the sad loss of half the promotion team, Paul Barrett earlier in the year. A good way to start our weekender calendar
© Andrew Smith, June Smith, The Bettajive Review, March 2019
The joy of six - Rock Ridge Rumble #6
Tennessee Hotshots
Hot stuff – Rock Ridge Rumble
Review by
Andrew Smith
The Rock Ridge Rumble weekender has been growing in popularity over the years and must be the premier weekender in the North East of the UK. Now ensconced at Bouldon Plain, it is opposite the Tanfield Railway. That railway is the oldest in the world apparently, dating back to 1725, and is a stand alone top day out.
We, however, were at the Rock n Roll festival the first weekend in August, which follows the Country music festival, Rock Ridge Round Up, the weekend before. Some people stay on site from one weekend to the other.
After a gruelling, stop-start trip up to the venue, from Essex, we arrived just as the first Friday band, the Tennessee Hotshots, in an evening which featured among the best of Scotland on stage. This three piece, started the evening and indeed the event, with a bang, as they presented a first rate blend of rockin’.
It would be easy to see the combination of lead guitar, upright bass and drums and think the band are a straight ahead Rockabilly Trio. Sure there was some of that, the likes of ‘Wildcat Tamer’ and ‘Flying Saucer Rock n Roll’, plus their first 45rpm A side ‘I Don’t Think So’. But there was also Moon Mullican’s ‘Seven Nights to Rock’ and a super cool take on the Del Viking’s ‘Flat Tire’*. It’s been about a year since we’d seen the lads, and hopefully it won’t be so long again. Check them out folks
Review by
Andrew Smith
The Rock Ridge Rumble weekender has been growing in popularity over the years and must be the premier weekender in the North East of the UK. Now ensconced at Bouldon Plain, it is opposite the Tanfield Railway. That railway is the oldest in the world apparently, dating back to 1725, and is a stand alone top day out.
We, however, were at the Rock n Roll festival the first weekend in August, which follows the Country music festival, Rock Ridge Round Up, the weekend before. Some people stay on site from one weekend to the other.
After a gruelling, stop-start trip up to the venue, from Essex, we arrived just as the first Friday band, the Tennessee Hotshots, in an evening which featured among the best of Scotland on stage. This three piece, started the evening and indeed the event, with a bang, as they presented a first rate blend of rockin’.
It would be easy to see the combination of lead guitar, upright bass and drums and think the band are a straight ahead Rockabilly Trio. Sure there was some of that, the likes of ‘Wildcat Tamer’ and ‘Flying Saucer Rock n Roll’, plus their first 45rpm A side ‘I Don’t Think So’. But there was also Moon Mullican’s ‘Seven Nights to Rock’ and a super cool take on the Del Viking’s ‘Flat Tire’*. It’s been about a year since we’d seen the lads, and hopefully it won’t be so long again. Check them out folks
With a chunky headcount in the marquee, the second Scottish act on, Rusty and the Riots took the stage. Lead singer Tracy Dewar, had played at a previous Rumble with the Buick 55s, so we were keen to see this latest incarnation. Flame haired Rusty took no prisoners during Joyce Green’s ‘Black Cadillac’, while Ian Morris on drums took the vocals for Tex Williams’ 1947 health warning, ‘Smoke, Smoke That Cigarette’.
Back came Rusty with a fiery version of the Collins Kids ‘Mercy’ with Johnny Earl’s ‘Swing Me Baby’ following hot on the heels. Then there was one of several tributes (during the weekend) to the late Keith Turner, with a version of Hi Voltage’s ‘Used To Be’ , followed by their own composition ‘Last Night’.
Kenny Tomlinson, that immensely talented and ubiquitous sax player, weighed in with ‘Tequila’, before a real vocal tear up by Rusty, in Barrence Whitfield’s ‘Stop Twisting My Arm’. The finale? Lulu’s (she’s Scottish as well you know) ‘Shout’. The deserved encore, was a slightly slower tempo, ‘Hey Buddy’. Top stuff!
Back came Rusty with a fiery version of the Collins Kids ‘Mercy’ with Johnny Earl’s ‘Swing Me Baby’ following hot on the heels. Then there was one of several tributes (during the weekend) to the late Keith Turner, with a version of Hi Voltage’s ‘Used To Be’ , followed by their own composition ‘Last Night’.
Kenny Tomlinson, that immensely talented and ubiquitous sax player, weighed in with ‘Tequila’, before a real vocal tear up by Rusty, in Barrence Whitfield’s ‘Stop Twisting My Arm’. The finale? Lulu’s (she’s Scottish as well you know) ‘Shout’. The deserved encore, was a slightly slower tempo, ‘Hey Buddy’. Top stuff!
Miss Mary Ann
Then it was time for the Scottish Frantic Friday turn, simply put, it was the Frettones with guest vocalists from Scotland, and surrounding areas (ie England) doing two songs each. I won’t list every song here, though for the record, here are a few to give you an idea. Ian Morris’ version of Keith Turner’s ‘I’m Leaving’, Bernie McBride doing ‘Pop the Question’, Miss Mary Ann with the outstanding Damita Jo track ‘Mister Blues’, Paddy and Si from the Tennessee Hotshots performing ‘Lawdy Miss Clawdy’ and ‘Your Baby Blues Eyes’ respectively, Emma from the Ragmen ‘Movin’ On’, Steve Fatkat with his own blues bopper ‘Ring My Bell’. I think there were twenty songs over all, quite the task for the organisers.
Beefy La Slap
So to the first full day, and the initial band on, just into the afternoon, were local combo, the Beefy La Slap Trio. I tell you what, we’ve only seen these guys when we are in the north, which is a travesty, ‘cos these guys shake up a storm. They love their Gene Vincent early Capitol stuff, with ‘Race With The Devil’, ‘You Told a Fib’, ‘Pretty Pretty Baby’, ‘Crazy Legs’ and the super cool ‘I Flipped’ all sounding ace. Mix that up with some classic Rockabilly, the likes of Johnny Burnette trio tunes ‘Please Don’t Leave Me’, ‘Honey Hush’, ‘Lonesome Train’, ‘Train Kept a Rollin’ ‘Your Baby Blue Eyes’, and the anthemic ‘Rockabilly Boogie’
It was hot stuff on the stage, given the rising ambient temperatures, and the music was equal to it, with ‘Johnny Valentine’, ‘Miss Pearl’ and the loudly demanded encore ‘Shake Your Hips’. Excellent start to Saturday from the lads.
It was hot stuff on the stage, given the rising ambient temperatures, and the music was equal to it, with ‘Johnny Valentine’, ‘Miss Pearl’ and the loudly demanded encore ‘Shake Your Hips’. Excellent start to Saturday from the lads.
Jack and the Real Deals
As the marquee became more populated, it was time for Jack and the Real Deals to present their show. A now well established and settled four piece, Jack, with Sid, Andy and Kev, always put on a solid show of covers and their own material. Their version of ‘Doin’ Alright’ has fired the starting pistol to their set for a while now, and it grabs the listener straight away.
Not sure that I’ve heard many bands take on ‘My Blackbirds are Bluebirds Now’, a song originally from 1928, by Annette Hanshaw, or Jean Goldkette’s Orchestra although we’re most familiar with the Starday ’57 release by Sleepy Jeffers. Sound version this one from the lads. ‘Uranium Rock’ top drawer, as were the two ‘Love Me’s, that of Jimmy and Johnny and The Phantom, songs at either end of the spectrum I think you’ll agree. Their own ‘Chain Gang Blues’ and ‘Jokers Wild’ slotted in well, in a beaut of a set.
Not sure that I’ve heard many bands take on ‘My Blackbirds are Bluebirds Now’, a song originally from 1928, by Annette Hanshaw, or Jean Goldkette’s Orchestra although we’re most familiar with the Starday ’57 release by Sleepy Jeffers. Sound version this one from the lads. ‘Uranium Rock’ top drawer, as were the two ‘Love Me’s, that of Jimmy and Johnny and The Phantom, songs at either end of the spectrum I think you’ll agree. Their own ‘Chain Gang Blues’ and ‘Jokers Wild’ slotted in well, in a beaut of a set.
Sister Suzie
Heading into the early evening now, and a band we were looking forward to, as we’d not seen them before. Sister Suzie and the Right Band, fronted by a local lass, though now resident in Hastings, Suzie, resplendent in red. She grabbed hold of the event by the scruff of the neck with a belting set of R&B and Blues, which was a pure delight.
Opening up with ‘Just Like a Dog’ as in Big Mama Thornton, the crowd knew this was a special show, and the quality of the sound in the marquee did the band justice. So much here to appreciate, Matt Jackson’s chilled guitar work and guest sax blower Kenny Tomlinson, alongside a cool set list. ‘Teardrops’ followed by Willie Dixon’s ‘Talk To Me Baby’, kept up the class, and the corking adaptation of Jimmy Rogers ‘Sloppy Drunk’ was simply sublime.
‘Working Girl’ ‘Shame Shame Shame’, plus ‘Forty Cups of Coffee’ in the Ella Mae Morse style, rattled along, and Betty James’ ‘A Little Mixed Up’ could’ve topped the bill on it’s own. There’s an album ‘Ain’t No Lady’ on it’s way, looks like it’s going to be a good one, if this show is anything to go by!
Opening up with ‘Just Like a Dog’ as in Big Mama Thornton, the crowd knew this was a special show, and the quality of the sound in the marquee did the band justice. So much here to appreciate, Matt Jackson’s chilled guitar work and guest sax blower Kenny Tomlinson, alongside a cool set list. ‘Teardrops’ followed by Willie Dixon’s ‘Talk To Me Baby’, kept up the class, and the corking adaptation of Jimmy Rogers ‘Sloppy Drunk’ was simply sublime.
‘Working Girl’ ‘Shame Shame Shame’, plus ‘Forty Cups of Coffee’ in the Ella Mae Morse style, rattled along, and Betty James’ ‘A Little Mixed Up’ could’ve topped the bill on it’s own. There’s an album ‘Ain’t No Lady’ on it’s way, looks like it’s going to be a good one, if this show is anything to go by!
Sureshots
From a new band, to one of the mainstays of the Rock n Roll circuit, the Sureshots. Gaz Allen, Joe Guillan, John Cavanagh and Gary Agar, always put on a cracking show, and this one was no exception, especially with home field advantage. Party time started with ‘Caledonia’, with Dale Hawkins’ ‘She’s My Baby’ and Don Woody’s ‘Barking Up The Wrong Tree’ rocking the place. Loved the Jiv-A Tones ‘Fire Engine Baby’ with guest vocalist Colin Mee joining in on the ‘zing zin zoos’. Good also to hear their own ‘West Coast Hop’ and ‘I’m On Fire’ (from Colin Mee).
Cool tunes, the like of Mel Tillis’ ‘Holiday For love’, Jerry Lee Lewis’ ‘I’m on Fire’ and a frantic rocker, ‘Bop-a-Lena’ topped off the show, which was loudly appreciated. Perfect scheduling, and a five star show.
Cool tunes, the like of Mel Tillis’ ‘Holiday For love’, Jerry Lee Lewis’ ‘I’m on Fire’ and a frantic rocker, ‘Bop-a-Lena’ topped off the show, which was loudly appreciated. Perfect scheduling, and a five star show.
Polecats
As the evening progressed, the stage was set for the final blast, with the Polecats. Tim (Worman) Polecat with even more orange hair, hit the ground running, and indeed bouncing and jumping around. The opening tracks were gimmies, the ‘A’ and ‘B’ side of their chart single, ‘John I’m Only Dancing’ and ‘Big Green Car’.
The hits followed with ‘Red Ready Amber’ from the iconic album ‘Polecats Are Go!’, and frantic recounting of standards ‘Hip Hip Baby’, ‘Rock Bop’, ‘Sunglasses After Dark’ and ‘Pink n Black’. It was all very pacey and punchy, I don’t think it unkind to say that this was a band that clearly polarised (or ‘pole’arised) opinion, but the rowdy lot down the front loved every last note.
Rumbling dot….dot. Best tracks at the Rumble ever ever to pull back your tent flaps for this year were the Skiprats’ ‘I’m Just Mender’ Sister Suzie ‘A Little Mixed Up’ and ‘Wolfman’ by the Tex Speed Combo……..Most popular tracks from the decks, ‘Darlene’ by Jack Southern, Mons Wheeler’s ‘Down By The Bay ‘ 45rpm and ‘Teardrops From My Eyes’ by Bill Haley and the Saddlemen……..Big up to the DJs for the weekender, some didn’t have the best slots, but played the best music throughout (though ‘The Snake’ can slither off and never be heard again!!!!). So big ups to Rob’s Rockin Jukebox, Stu Campbell, Poor Boy Paul, Bad Boy, Lord Fatkat and Tojo…….One annoyance. As a male it’s true that the world is my urinal, but in 2018, have we not progressed beyond a length of rainwater guttering against some rapidly deteriorating larch lap fencing?...........Odd sensation, as daft as it sounds, that the marquee was the opposite way round this year……*I know we spell it ‘tyre’, but on the record it’s ‘tire’. I thank you…….
The hits followed with ‘Red Ready Amber’ from the iconic album ‘Polecats Are Go!’, and frantic recounting of standards ‘Hip Hip Baby’, ‘Rock Bop’, ‘Sunglasses After Dark’ and ‘Pink n Black’. It was all very pacey and punchy, I don’t think it unkind to say that this was a band that clearly polarised (or ‘pole’arised) opinion, but the rowdy lot down the front loved every last note.
Rumbling dot….dot. Best tracks at the Rumble ever ever to pull back your tent flaps for this year were the Skiprats’ ‘I’m Just Mender’ Sister Suzie ‘A Little Mixed Up’ and ‘Wolfman’ by the Tex Speed Combo……..Most popular tracks from the decks, ‘Darlene’ by Jack Southern, Mons Wheeler’s ‘Down By The Bay ‘ 45rpm and ‘Teardrops From My Eyes’ by Bill Haley and the Saddlemen……..Big up to the DJs for the weekender, some didn’t have the best slots, but played the best music throughout (though ‘The Snake’ can slither off and never be heard again!!!!). So big ups to Rob’s Rockin Jukebox, Stu Campbell, Poor Boy Paul, Bad Boy, Lord Fatkat and Tojo…….One annoyance. As a male it’s true that the world is my urinal, but in 2018, have we not progressed beyond a length of rainwater guttering against some rapidly deteriorating larch lap fencing?...........Odd sensation, as daft as it sounds, that the marquee was the opposite way round this year……*I know we spell it ‘tyre’, but on the record it’s ‘tire’. I thank you…….
Saint Dom and the Sinful
Sunday, and another glorious sunny day, which people who regularly attend this event, seemed to be treating with suspicion. Early arrivals got a treat as well, with the first band on, Saint Dom and the Sinful, about whom, we knew nowt, but glad we found out! This band from the North East, don’t perform cover tunes, all of their songs are self penned.
The style is your classic Rockabilly trio with some Neo additions, (I’d stop short of Psychobilly) the songs have a solid beat. I’d suggest you take in, as we did, tracks like ‘Spartacus’, ‘Cat Feet’, ‘Ghost Town’, ‘Mohawk’ and ‘Hollywood Dene’. Really good to catch a band with a sound like this.
The style is your classic Rockabilly trio with some Neo additions, (I’d stop short of Psychobilly) the songs have a solid beat. I’d suggest you take in, as we did, tracks like ‘Spartacus’, ‘Cat Feet’, ‘Ghost Town’, ‘Mohawk’ and ‘Hollywood Dene’. Really good to catch a band with a sound like this.
Switching gears, canny northern powerpack, Bernie McBride, as Bernie and the Bluenotes, who presented their show of classic Rock n Roll with all the gusto and zest you’d expect. The set list was all well known, the likes of ‘Black Slacks’, ‘Little Sister’, ‘Tornado’, ‘Twenty Flight Rock’ and ‘Right String Baby, Wrong Yo Yo’.
Bernie in his blue and white shirt, is a charismatic frontman, with a decent set of pipes, and he and the band put on a good performance, culminating in ‘Shake Your Hips’ the extended version, and ‘Rip it Up’.
Bernie in his blue and white shirt, is a charismatic frontman, with a decent set of pipes, and he and the band put on a good performance, culminating in ‘Shake Your Hips’ the extended version, and ‘Rip it Up’.
Skiprats
More local talent followed with Colin Mee, Joe Guillan and Mickey Downey, the Skiprats, who’ve been around for ever it seems. This is a Rockabilly trio in it’s stripped down sense, with the upright bass keeping the beat (sic). ‘Tongue Tied Jill’ opened the set, and set the pace, with the first song they played together ‘Hip Hip Baby’ rattling along soon after. Then the announcement that they’d be playing the only Skiprats recording with drums, and invited the St Dom drummer up to play with them. And there he stayed, all through the rest of the show
‘You Cut Me Up’, ‘Move Over Rover’, Dean Martin’s ‘Lil Ol Wine Drinker Me’, Don Woody’s ‘Morse Code’, the outstanding ‘I’m Just A Mender’ and the laugh out loud lyrics of ‘She’s My Baby’. The Skiprats don’t play as regularly nowadays, which is a massive shame, ‘cos they are bill toppers on their own, with or without drums….!
‘You Cut Me Up’, ‘Move Over Rover’, Dean Martin’s ‘Lil Ol Wine Drinker Me’, Don Woody’s ‘Morse Code’, the outstanding ‘I’m Just A Mender’ and the laugh out loud lyrics of ‘She’s My Baby’. The Skiprats don’t play as regularly nowadays, which is a massive shame, ‘cos they are bill toppers on their own, with or without drums….!
Emma and the Ragmen
A couple of years ago a nervous young lady took the Rumble stage for a debut, that had people talking about her and her band a lot, after the show. Emma and the Ragmen from Scotland were back again, having played gigs and weekenders all over the place in the months between. There’s a degree of assurance about Emma’s performance today that’s clearly the result of dedicated attention and time in rehearsal. Not that her voice needed any adjustment.
The show contained a variety of covers and some of their own material, with a blend of tempos, starting with ‘Sentimental Fool’, Joyce Green’s embittered ‘Black Cadillac’, with their own ‘Rag Top Roll’ hitting the high spots. A slow stroller, ‘In The Know’ slowed the pace a bit before Brenda Lee’s ‘Bigelow 6200’ picked it up again. ‘Heading Out The Country’ is on the new 45rpm, which has an instrumental ‘B’ side, I didn’t catch the name of.
With loud travelling support, the show was very well received and afforded two encores, Fats’ ‘I’m Ready’ and their own ‘Backwards Bop’. First class vibe from north of the border.
The show contained a variety of covers and some of their own material, with a blend of tempos, starting with ‘Sentimental Fool’, Joyce Green’s embittered ‘Black Cadillac’, with their own ‘Rag Top Roll’ hitting the high spots. A slow stroller, ‘In The Know’ slowed the pace a bit before Brenda Lee’s ‘Bigelow 6200’ picked it up again. ‘Heading Out The Country’ is on the new 45rpm, which has an instrumental ‘B’ side, I didn’t catch the name of.
With loud travelling support, the show was very well received and afforded two encores, Fats’ ‘I’m Ready’ and their own ‘Backwards Bop’. First class vibe from north of the border.
Finally the enigma that is the Tex Speed Combo from Yorkshire. Kevin Ellison could never be accused of being same-old-same-old, filling in the gaps between songs with odd anecdotes and ditties about his mate who smells of poo (honest, you’d had to have been there). Cripes, the first time we saw the band in Norfolk, he managed to nut his own guitar, and bled through the band’s second set!
But it’s not all visual buffoonery, this is a skilled band musically, that present a set full of stuff you rarely hear….anywhere. No nonsense opener ‘Rock Bop’ rocked the place, as did ‘Blues Stop Knocking’. ‘Raw Deal’ is a cracking stroller, and their cover of Jack Southern’s ‘Darlene’ was butt kicking in every way. Jett Powers’ ‘Go Girl Go’, set up Gene’s ‘Bird Doggin’ and the crescendo ‘Wolfman’. Encore one, ‘Brown Eyed Handsome Man’ followed by another demanded by the crowd, which tore up ‘This is the Night’. A breathless end to the weekend.
The Rumble continues to grow in stature and quality in the North East, and has now established itself as one of the go to outside events. Kevin Greener and Tracey Hobbs now have the Southport Rumble to look forward to early in 2019, and of course the Rock Ridge events. Circle them on your calendar peeps!
© Andrew Smith, June Smith, The Bettajive Review, August 2018
If you've enjoyed reading our reviews and our site, please consider a donation to help keep this site free. Thank you
But it’s not all visual buffoonery, this is a skilled band musically, that present a set full of stuff you rarely hear….anywhere. No nonsense opener ‘Rock Bop’ rocked the place, as did ‘Blues Stop Knocking’. ‘Raw Deal’ is a cracking stroller, and their cover of Jack Southern’s ‘Darlene’ was butt kicking in every way. Jett Powers’ ‘Go Girl Go’, set up Gene’s ‘Bird Doggin’ and the crescendo ‘Wolfman’. Encore one, ‘Brown Eyed Handsome Man’ followed by another demanded by the crowd, which tore up ‘This is the Night’. A breathless end to the weekend.
The Rumble continues to grow in stature and quality in the North East, and has now established itself as one of the go to outside events. Kevin Greener and Tracey Hobbs now have the Southport Rumble to look forward to early in 2019, and of course the Rock Ridge events. Circle them on your calendar peeps!
© Andrew Smith, June Smith, The Bettajive Review, August 2018
If you've enjoyed reading our reviews and our site, please consider a donation to help keep this site free. Thank you
alive at five -atomic #5
Baby Jai
Alive for No5 – Atomic Vintage Festival
Review by Andrew Smith
Late July 2018, yes it was time for the fifth Atomic Vintage Festival at the Sywell Aerodrome in Northamptonshire.
The aerodrome itself was opened in 1928, being situated just outside of the village of Sywell. Closer towns familiar to many are the likes of Wellingborough, Northampton and Kettering. It also boasts a 1930’s Art Deco Hotel, called the Aviator and restaurant, plus an aviation museum, and of course is still an active airfield with a flying club in situ. In 2009 the aerodrome was awarded the Best General Aviation Airport by the AOA.
On this weekend in July though, it was invaded by hundreds of people attending the Atomic Festival. Live music across three venues, DJs playing 78’s 45’s and indeed CDs in three halls and a main marquee. A sideshow and burlesque to boot, as well as fairground rides and activities, including the fastest rotating Ferris wheel I think I’ve seen.
Wristbands secured, and over to the main marquee for the first act on, one of a few that were new to us this event, Baby Jai. She presented a hugely varied set, that somehow managed to knit together the Meteors’ ‘Psycho’ with Ann Cole’s ‘Got My Mojo Working’ one after the other. ‘Johnny’s Got a Boom Boom’ offset ‘See See Rider’. The band suffered a guitar malfunction, with professionalism, and the minimum of fuss, and we were back on track again.
There was a solid version of Bill Allen’s ’58 cut on Imperial ‘Please Give Me Something’, as well as ‘My Babe’ and ‘Palm of Your Hand’. Cool vibes to match the coolness of the weather outside, and a well received set.
Review by Andrew Smith
Late July 2018, yes it was time for the fifth Atomic Vintage Festival at the Sywell Aerodrome in Northamptonshire.
The aerodrome itself was opened in 1928, being situated just outside of the village of Sywell. Closer towns familiar to many are the likes of Wellingborough, Northampton and Kettering. It also boasts a 1930’s Art Deco Hotel, called the Aviator and restaurant, plus an aviation museum, and of course is still an active airfield with a flying club in situ. In 2009 the aerodrome was awarded the Best General Aviation Airport by the AOA.
On this weekend in July though, it was invaded by hundreds of people attending the Atomic Festival. Live music across three venues, DJs playing 78’s 45’s and indeed CDs in three halls and a main marquee. A sideshow and burlesque to boot, as well as fairground rides and activities, including the fastest rotating Ferris wheel I think I’ve seen.
Wristbands secured, and over to the main marquee for the first act on, one of a few that were new to us this event, Baby Jai. She presented a hugely varied set, that somehow managed to knit together the Meteors’ ‘Psycho’ with Ann Cole’s ‘Got My Mojo Working’ one after the other. ‘Johnny’s Got a Boom Boom’ offset ‘See See Rider’. The band suffered a guitar malfunction, with professionalism, and the minimum of fuss, and we were back on track again.
There was a solid version of Bill Allen’s ’58 cut on Imperial ‘Please Give Me Something’, as well as ‘My Babe’ and ‘Palm of Your Hand’. Cool vibes to match the coolness of the weather outside, and a well received set.
The Wheelgrinders
Next up, another new act for us, The Wheelgrinders from Canada, a trio of two guys, Greg on lead guitar and Stuart on drums, with Caroline on upright bass. From the first thumping beat of ‘Torque-Flite Baby’, everyone knew this was a delight of a band. Keeping the pace, ‘Hangry Baby’ (yes correct spelling) followed by the lads’ main influence from back in the day, Hank Mizell’s ‘Jungle Rock’.
Caroline was quick to point out that she was the only ‘real’ Canadian in the band, as opposed to the ‘false Canadians’ alongside her. All done with a smile, much like the set, which rocked along with ‘New Tattoo’ and ‘Kitty Kat Shades’, before the familiar strains of ‘Be Bop a Lula’. Really enjoyed their version of Rod Wills ‘The Cat’ too and the wonderfully titled ‘Space Rabbits’. Powerful stuff from the Vancouver threesome.
From there, it went rather awry, a short trip back to our hotel to change resulted in sheltering in the car, in the Atomic car park, from a rain shower of biblical proportions that must’ve had the Chataboxes and Weathersbees searching out some Gopherwood. A slight easing saw us make a run for it, only to get soaked within ten yards and have to return to our digs to get dry and changed. The upshot was that we actually missed one of the acts of the weekend, Lily Moe, backed by Cherry Casino and the Gamblers. One of the best lady RnB artists on the planet, and we’re not there. A real sickener, especially as the reports from those who had strategically avoided the deluge, were glowing.
Caroline was quick to point out that she was the only ‘real’ Canadian in the band, as opposed to the ‘false Canadians’ alongside her. All done with a smile, much like the set, which rocked along with ‘New Tattoo’ and ‘Kitty Kat Shades’, before the familiar strains of ‘Be Bop a Lula’. Really enjoyed their version of Rod Wills ‘The Cat’ too and the wonderfully titled ‘Space Rabbits’. Powerful stuff from the Vancouver threesome.
From there, it went rather awry, a short trip back to our hotel to change resulted in sheltering in the car, in the Atomic car park, from a rain shower of biblical proportions that must’ve had the Chataboxes and Weathersbees searching out some Gopherwood. A slight easing saw us make a run for it, only to get soaked within ten yards and have to return to our digs to get dry and changed. The upshot was that we actually missed one of the acts of the weekend, Lily Moe, backed by Cherry Casino and the Gamblers. One of the best lady RnB artists on the planet, and we’re not there. A real sickener, especially as the reports from those who had strategically avoided the deluge, were glowing.
The Rechords
So we camped in Hangar One, especially to see the Rechords from Australia, who had also had their own issues with travel, arriving a bit late, but I tell you what folks, it was worth it! This Melbourne based drumless trio were well into their European tour when they hit the stage at Sywell, with a catalogue of mainly their own material delighting the assembled. ‘Handful of Cash, (Eyes Turn to Trash), is an intriguing title to a cracking song, ‘Big White Moon’ ace, ‘Could’ve Been Worse’ and ‘Don’t Know Much’ memorable, as was their take on Rusty and Doug’s ‘Hey Sheriff’.
Such is the quality of the sound system in the Hangar, the Rechords resonance, even without drums, was full and ballsy. They are all accomplished musicians and the songs in this set were well conceived and delivered. Need to see these guys again!
Such is the quality of the sound system in the Hangar, the Rechords resonance, even without drums, was full and ballsy. They are all accomplished musicians and the songs in this set were well conceived and delivered. Need to see these guys again!
New Piccadillys
By way of a contrast, the New Piccadillys from Scotland, looking sharp in their sliver grey suits, brought their brand of late 50’s early 60’s guitar based Rock n Roll to the Atomic. It’s cherry red Airline lead guitar, viola bass guitar, a third Epiphone guitar and drums, that sort of thing. The result is a kick arse sound, opening with an instro called ‘Yellow’ (I think, I’m sure someone will fill in any blanks).
Some Link Wray? Yep we got some of that, ‘Ace Of Spades’ and ‘Jack The Ripper’ were top drawer. It wasn’t all instrumental, ‘Chills and Fever’ had a smooth reverb and ‘Casting my Spell on You’ stood out. Really well presented set.
Some Link Wray? Yep we got some of that, ‘Ace Of Spades’ and ‘Jack The Ripper’ were top drawer. It wasn’t all instrumental, ‘Chills and Fever’ had a smooth reverb and ‘Casting my Spell on You’ stood out. Really well presented set.
King Pleasure
Finally, another gear switch, with King Pleasure and the Biscuit Boys. The boys in blue took the place by storm, with the ‘king’ either blowing up a storm on the sax or delighting with his vocals. Of course there’s the on stage buffoonery from bassist Craig Sutherland, as his alias, Shark Van Schtoop. Hiding behind, running around and a myriad of facial expressions, interacting with the crowd. He’s not only like a court jester, he, along with the band, is a consummate musician and super tight with the band.
They rock, they roll and they swing. Taking Jackie Wilson’s ‘I’ll Be Satisfied’ as a stand alone example, no attempt to sound alike, just a pitch perfect version that would send a shiver up a statue. And now for some Western swing, came the announcement, as they launched into Cliffie Stone’s ‘Barracuda’. Jumping across the divide again it was ‘Morning Noon and Night’ that filled the dancefloor, as did ‘Going Back to California’
It was hot on the stage, as the King reigned supreme to top off the Saturday live shows.
They rock, they roll and they swing. Taking Jackie Wilson’s ‘I’ll Be Satisfied’ as a stand alone example, no attempt to sound alike, just a pitch perfect version that would send a shiver up a statue. And now for some Western swing, came the announcement, as they launched into Cliffie Stone’s ‘Barracuda’. Jumping across the divide again it was ‘Morning Noon and Night’ that filled the dancefloor, as did ‘Going Back to California’
It was hot on the stage, as the King reigned supreme to top off the Saturday live shows.
Howlin Ric and the Rocketeers
Atomic dot…dot. Best tracks at Atomic ever ever to mop up your rainfall for this year (performed) were ‘Kiss Me’ by Cherry Casino and the Gamblers, ‘Rhinestone Cowboy’ by the Drugstore Cowboys, and ‘Ace Of Spades’ from the New Piccadillys ……… At this point we welcome back those who have been looking up the significance of afore mentioned Gopherwood….. DJs for the weekend were varied and seamlessly kept the vibe going. We didn’t get to see them all, but of the ones we did, memorable sets from Mr Jinx, Carrie Hope, Jimmy Guntrip and BeBop Kaz in Hangar One, Sharky in the marquee and Jumpin’ Jim in Hangar Two………The Death Do us Part show in the Truck stage tent, knife throwing, whip cracking, child friendly burlesque (if that isn’t a contradiction in terms) and a Peruvian chest of doom doom doom. And that was the Family Friendly version. The adult one was later, apparently………
Sunday began with a miserable drizzle, clearing just in time for Atomic part two, starting with Howlin Ric and the Rocketeers in the main marquee. Hailing from Leeds and based in Castleford, these five lads have come on leaps and bounds since last we saw them. Musically they’re all on it, and it’s not all one style either. The sound is bullish and controlled at the same time, never better illustrated in ‘Cannonball’.
The majority of their material is original, ‘One Last Drink’, ‘You Ain’t Gonna Leave’ and ‘Kiss Me Sometime’ are all well crafted, as was the deserved encore of ‘Shake It’. Good opening act for Sunday.
Sunday began with a miserable drizzle, clearing just in time for Atomic part two, starting with Howlin Ric and the Rocketeers in the main marquee. Hailing from Leeds and based in Castleford, these five lads have come on leaps and bounds since last we saw them. Musically they’re all on it, and it’s not all one style either. The sound is bullish and controlled at the same time, never better illustrated in ‘Cannonball’.
The majority of their material is original, ‘One Last Drink’, ‘You Ain’t Gonna Leave’ and ‘Kiss Me Sometime’ are all well crafted, as was the deserved encore of ‘Shake It’. Good opening act for Sunday.
Drugstore Cowboys
A quick squizz at the Death Do Us Part show, filled a gap until the Drugstore Cowboys took the stage. Nick Whitfield, Tom Bull and Damien Claridge took no prisoners in their forty five minutes, and then some, set. ‘Stop The World and Let me Off’ opened the set, with a new song from Nick ‘Good Thing’ following. This three piece always mix it up with the seldom heard, George Jones’ ‘Nothing Ever Heard Me Half As Much As Losing You’, Tony Joe White’s ‘Saturday Night in Oak Grove’ and the Everly Brothers’ ‘Muskrat’.
You have to hear their version of ‘Rhinestone Cowboy’ and the updating of the lyrics to form ‘Drugstore Cowboy’ with social media references. The encore? ‘Champion The Wonder Horse’, followed by a second encore, ‘Rocket in my Pocket’. Superb.
You have to hear their version of ‘Rhinestone Cowboy’ and the updating of the lyrics to form ‘Drugstore Cowboy’ with social media references. The encore? ‘Champion The Wonder Horse’, followed by a second encore, ‘Rocket in my Pocket’. Superb.
The Revolutionaires
So where do you go from those two shows, and who can pick up the baton? Well, how about four canny lads from the North East, and Atomic mainstays, the Revolutionaires. Another mint set of house rocking blues and Rock n Roll from the lads, with the first bars of ‘Roll Over Beethoven’ filling the main marquee to the hilt.
All the faves were there, the classic bopper ‘Riot in Cell Block Number Nine’, ‘Keep a Knockin’, Tequila’ ‘Eddie’s Blues’ you name it, it was there. Thundering sound, and thunderous applause as well. What’d you expect?
All the faves were there, the classic bopper ‘Riot in Cell Block Number Nine’, ‘Keep a Knockin’, Tequila’ ‘Eddie’s Blues’ you name it, it was there. Thundering sound, and thunderous applause as well. What’d you expect?
Firebirds
Back over to Hangar One and the first of two bands for the evening there, the Firebirds. This straight ahead Rock n Roll and doo wop in the best known format. Jim Plummer on lead guitar, Dan Plummer, bass and Jason Bryant on drums have a knack of blending songs into each other, resulting in easy going doo wop strollers or out and out rockers. Whichever, they provided the crowd with not only dance music, but a good dose of familiar stuff too.
The Fuzillis
As the Firebirds ended, so in the marquee, the Fuzillis exploded into their set. Another group we hadn’t seen live before, hidden as they were behind sunglasses and belting out guitar grinding instrumental surf sounds with one or two word titles. The stage show is energetic and visual, that is when they are on the stage and not leaping about in the audience. They feature two electric guitars, one lead one bass, a howling sax and drums. Their weapon of choice being Danelectro, it seems that this make of guitar is the preference for this type of sound, just a personal observation.
Titles like ‘Beavershot’, ‘Broken Hip, ‘Huggies Buggies’, ‘Mogul Monster’ ‘Fish Gumbo’ and ‘Ungawa’ tickle the imagination, while blasting the eardrums. It’s not all instro, ‘Tough Lover’ for example, I’m not sure I’ve heard it performed by a male voice before. A band on top form that seemed to polarise opinion among the audience, though the ‘ayes’ had it, judging by the raucous reception for each searing sound.
Titles like ‘Beavershot’, ‘Broken Hip, ‘Huggies Buggies’, ‘Mogul Monster’ ‘Fish Gumbo’ and ‘Ungawa’ tickle the imagination, while blasting the eardrums. It’s not all instro, ‘Tough Lover’ for example, I’m not sure I’ve heard it performed by a male voice before. A band on top form that seemed to polarise opinion among the audience, though the ‘ayes’ had it, judging by the raucous reception for each searing sound.
Cherry Casino
Finally, in Hangar One, Cherry Casino and the Gamblers from Germany. Anyone who has read my reviews before will know, we are fans of the band already, but there’s no bias here…..honest.
A big crowd congregated around the stage as they set the tone with ‘Rockin’ and Rollin’, which is as joyous a rocking tune as you’ll ever hear. ‘More volume on the vocals’ demanded the crowd. ‘More volume, less clothing?’ asked lead singer Axel Praefke. And that’s the rapport the guys have with their audience, as they continued with the likes of ‘Love Rollercoaster’ and the rather bitter ‘My Baby Took The Car’.
They switched their playlist between their popular albums, including the more recent ‘Dream Boy’ the brilliant ‘Kiss Me’ (not Marvin and Johnny, this is an original), and favourites ‘Baby C’mon Let’s Go’, ‘Loo le loo le loo’ and the much requested ‘Fat Mama’s Daughter’. The group have been performing for some sixteen years now and produce a tight rhythm and sound, which is just sublime. A cracking end to the live acts.
It’s hard to believe that this was the fifth year of Atomic Vintage Festival. The acts are varied and mixed, as well as talented and gifted musically and vocally (and at throwing knives if that tickles your pickle). The date for the next one hasn’t been announced yet, at the time of writing, but circle that in your diaries folks
© Andrew Smith, June Smith, The Bettajive Review, August 2018
Have you enjoyed this review? And our other reviews? Help us keep this site free by popping us a donation please, just click on the buttonvbelow
A big crowd congregated around the stage as they set the tone with ‘Rockin’ and Rollin’, which is as joyous a rocking tune as you’ll ever hear. ‘More volume on the vocals’ demanded the crowd. ‘More volume, less clothing?’ asked lead singer Axel Praefke. And that’s the rapport the guys have with their audience, as they continued with the likes of ‘Love Rollercoaster’ and the rather bitter ‘My Baby Took The Car’.
They switched their playlist between their popular albums, including the more recent ‘Dream Boy’ the brilliant ‘Kiss Me’ (not Marvin and Johnny, this is an original), and favourites ‘Baby C’mon Let’s Go’, ‘Loo le loo le loo’ and the much requested ‘Fat Mama’s Daughter’. The group have been performing for some sixteen years now and produce a tight rhythm and sound, which is just sublime. A cracking end to the live acts.
It’s hard to believe that this was the fifth year of Atomic Vintage Festival. The acts are varied and mixed, as well as talented and gifted musically and vocally (and at throwing knives if that tickles your pickle). The date for the next one hasn’t been announced yet, at the time of writing, but circle that in your diaries folks
© Andrew Smith, June Smith, The Bettajive Review, August 2018
Have you enjoyed this review? And our other reviews? Help us keep this site free by popping us a donation please, just click on the buttonvbelow
Two Little Ducks – The 22nd Rockabilly Rave
Doug Kershaw
Doggone Honkabillies
Two Little Ducks – The 22nd Rockabilly Rave
Review by Andrew Smith
As if it were a click of the heels, and here we are back at Camber Sands for the 22nd Rockabilly Rave. Thursday through to the following Monday, close the gates and live in an enclosed world where music, cool clothes and sleek cars are king. Thursday did throw a curve ball though, with leaden skies and a temperature we really weren’t expecting. And that’s the organiser’s fault you know…..So without further ado….
Let’s go! Thursday got going with the four piece from God’s own county of Essex, debuting at the Rave, The Doggone Honkabillies. Now a settled four piece, they got a rowdy reception as lead singer Frankie Reidell launched into a massive Rockabilly classic, ‘Lonesome Train’, which has become one of the band’s signature tunes. Two Johnny Horton covers got the crowd as well with ‘One Woman Man’ and ‘Cherokee Boogie’ hitting the high spots.
They’ve got stuff coming out on El Toro Records, and three of their own tunes ‘Hog Wild’, ‘Drinkin’ For Your Leavin’, and ‘She’s Mine’ whetted the appetites for that release. The set finished with a slow starting version of ‘Freight Train Boogie’ which gradually increased in volume and pace to a perfect crescendo. Naturally they were called back on stage for a well deserved encore, and ‘Ghost Riders in the Sky’ fitted the bill perfectly.
Review by Andrew Smith
As if it were a click of the heels, and here we are back at Camber Sands for the 22nd Rockabilly Rave. Thursday through to the following Monday, close the gates and live in an enclosed world where music, cool clothes and sleek cars are king. Thursday did throw a curve ball though, with leaden skies and a temperature we really weren’t expecting. And that’s the organiser’s fault you know…..So without further ado….
Let’s go! Thursday got going with the four piece from God’s own county of Essex, debuting at the Rave, The Doggone Honkabillies. Now a settled four piece, they got a rowdy reception as lead singer Frankie Reidell launched into a massive Rockabilly classic, ‘Lonesome Train’, which has become one of the band’s signature tunes. Two Johnny Horton covers got the crowd as well with ‘One Woman Man’ and ‘Cherokee Boogie’ hitting the high spots.
They’ve got stuff coming out on El Toro Records, and three of their own tunes ‘Hog Wild’, ‘Drinkin’ For Your Leavin’, and ‘She’s Mine’ whetted the appetites for that release. The set finished with a slow starting version of ‘Freight Train Boogie’ which gradually increased in volume and pace to a perfect crescendo. Naturally they were called back on stage for a well deserved encore, and ‘Ghost Riders in the Sky’ fitted the bill perfectly.
Next on, one of two performances by bands fronted by Bob Butfoy, this one being Bob and the Bearcats, featuring Darrel Higham on lead guitar, Nick Hoadley on bass and Les Curtis on drums. Corking opener with Bobby Lollar’s ‘Bad Bad Boy’, powering through the hall. This set took no prisoners with a couple of Elvis tunes ‘Shoppin’ Around’ and ‘Big Hunk o’ Love’, Ronnie Self’s ’58 cut on Columbia ‘Bop a Lena’ and even a bit of seventies glam, rocking up ‘My Coo ca Choo’.
It was almost a nostalgic trip back to the mid nineties with tunes from the albums ‘High Heels and Homicides’ and ‘Hold on Tight’, like ‘Love Me’, ‘Ain’t Got No Bail’, and ‘Queen of the Curves’. Kickin’ set.
It was almost a nostalgic trip back to the mid nineties with tunes from the albums ‘High Heels and Homicides’ and ‘Hold on Tight’, like ‘Love Me’, ‘Ain’t Got No Bail’, and ‘Queen of the Curves’. Kickin’ set.
Deke Dickerson
Dickerson’s Real Deal Next on, the lofty presence of Deke Dickerson with the Ecco-Fonics. Unusual not to see Crazy Joe with him, but take nothing away from the show folks, this is a masterclass in top rockin. First rate Link Wray instrumental ‘Run Chicken Run’, accompanying as always the story of chasing your dinner around.
He looked sharp in his red shirt with zebra print on the front, as he took on ‘Mama Hey Mama’, ‘Snatch it and Grab it’, ‘Mishapen Hillbilly Gal’, an exquisite version of ‘Luther Played the Boogie’ with references to setting Scotty Baker on fire to get the audiences attention at their shows, a beaut of a take on ‘Mexicali Rose’ and the mandatory ‘Mule Skinner Blues’. Classic Deke.
He looked sharp in his red shirt with zebra print on the front, as he took on ‘Mama Hey Mama’, ‘Snatch it and Grab it’, ‘Mishapen Hillbilly Gal’, an exquisite version of ‘Luther Played the Boogie’ with references to setting Scotty Baker on fire to get the audiences attention at their shows, a beaut of a take on ‘Mexicali Rose’ and the mandatory ‘Mule Skinner Blues’. Classic Deke.
The Spunyboys
Finally on Thursday, the gravity defying hair and musical instruments of the Spunyboys, three young lads from Lille in France. Double bassist and Lead vocalist Rémi, somehow manages to get a tune out his bass even when bouncing it off security-men and fellow band members as well as balancing on it and throwing it around. He’s back by drummer and backing vocals Guillaume and lead guitarist Eddie.
It’s not all acrobatics and visual buffoonery, there’s real musical talent on show here, with their liking for Little Richard to the fore, ‘I Got It’ and ‘Baby Face’ for example. ‘El Camino Real’ got the Spuny treatment as did ‘Hoy Hoy Hoy’ and ‘Rockabilly Legacy’ got it’s usual outing. Somehow among the mayhem, we got to the finale of ‘Latch On’, which the diehard stopouts (ie us) loved! Tres bien
It’s not all acrobatics and visual buffoonery, there’s real musical talent on show here, with their liking for Little Richard to the fore, ‘I Got It’ and ‘Baby Face’ for example. ‘El Camino Real’ got the Spuny treatment as did ‘Hoy Hoy Hoy’ and ‘Rockabilly Legacy’ got it’s usual outing. Somehow among the mayhem, we got to the finale of ‘Latch On’, which the diehard stopouts (ie us) loved! Tres bien
The Hayriders
Raving dot….dot. Best tracks at the Rave ever ever to clean up your guano for this year are Ricky Nelson’s ‘Summertime’, Johnny and Jonie’s ‘Kee Ro Ryin’ Paul Marvin’s ‘Cinderella’ and Carl Perkins’ ‘Let My Baby Be’……..A guy walking across the grassed area from his car to the chalet appeared to be getting shorter, or was it the furrow he’d formed with the number of times he went back and forth……..Billy ‘The Kat’ Brookes impressive debut DJing at the Rave, it’s a scurrilous rumour however, that ‘the Kat’ attempted to crap in the children’s sandpit…….Jerry Chatabox has his name all over the Rave, even the big yellow forklift that lifts the aircon unit into place, has his initials on it……..I met some people who had a complaint about their chalet at Pontins. They had nothing to complain about. I wondered if they’d forgotten to come…….What do those gulls eat? I’ve seen some guano splats on the roofs of cars in my time going to the Rave, but these were the size of an LP!......Most appearances by a drummer at the Rave? Bobby Trimble, followed by Axel Praefke……Top MC Del Villareal upstairs, has articulated the potentially awkward silences between bands and DJ for some years now with considerable accomplishment. But someone must’ve noticed that virtually every lead singer’s microphone is set eighteen inches shorter than he is. Get the lad a field mic before he does his back a mischief, cos where there’s blame, there’s a claim…..Can you believe it? Some people played music over their mobile phone, via a Bluetooth device. What has the world come to? Where are your Dansette players that you screw into the light bulb pendants, and a barrowload of vinyl records? Get a grip Rockabilly Rave-rs….
Frid-Hay. First full day’s entertainment at the Rave, and the opening of the downstairs hall for the afternoon sessions. These are up close and personal performances, with the audience a guitar headstock away from the performers, who are just elevated on a small stage.
The opening act were the Hayriders, almost unrecognisable from a couple of years ago, now with players, Darren Lince on lead guitar, Ricky McCann on drums and Pat Reyford doing dawghouse duties. Ever present Neil Wright fronts the band on rhythm and vocals, and they presented a well conceived set of popular Rockabilly, which was top drawer.
I don’t hear bands ‘do’ ‘Who Slapped John’, very often, but this version was up there. Elvis’ ‘I Beg of You’ and ‘Big Hunk o Love’ got a well received run out, as did some Sun classics, ‘Love My Baby’, ‘Red Cadillac and a Black Moustache’ and a powerhouse ‘Do What I Do’. Also chipping in, was Pat on vocals, with ‘Ain’t Got No Home’ (I know, not Sun, no need to pillory me on Facebook!).
Yeah, one of the best shows I’ve seen the Hayriders put on, testament also to the quality of the sound in that downstairs hall, and the band on accomplished form.
Frid-Hay. First full day’s entertainment at the Rave, and the opening of the downstairs hall for the afternoon sessions. These are up close and personal performances, with the audience a guitar headstock away from the performers, who are just elevated on a small stage.
The opening act were the Hayriders, almost unrecognisable from a couple of years ago, now with players, Darren Lince on lead guitar, Ricky McCann on drums and Pat Reyford doing dawghouse duties. Ever present Neil Wright fronts the band on rhythm and vocals, and they presented a well conceived set of popular Rockabilly, which was top drawer.
I don’t hear bands ‘do’ ‘Who Slapped John’, very often, but this version was up there. Elvis’ ‘I Beg of You’ and ‘Big Hunk o Love’ got a well received run out, as did some Sun classics, ‘Love My Baby’, ‘Red Cadillac and a Black Moustache’ and a powerhouse ‘Do What I Do’. Also chipping in, was Pat on vocals, with ‘Ain’t Got No Home’ (I know, not Sun, no need to pillory me on Facebook!).
Yeah, one of the best shows I’ve seen the Hayriders put on, testament also to the quality of the sound in that downstairs hall, and the band on accomplished form.
Lew Lewis
Time F-Lew by. Lew Lewis and the Twilight Trio, took to the stage next, a dependable four piece that always put on a solid show, and immediately we heard ‘How Could You Be So Mean’ we knew it was another good ‘un on the way. A fine blend of own material and covers followed, with ‘Boppin The Blues’ ‘One Hand Loose’ and ‘Treat Me Right’, rubbing shoulders with ‘Live Wire Woman’, ‘Ooh Wow’ and ‘Trouble Bound’.
This line up has been consistent for six years, although there was a slight disappointment as Lew announced that the three lads in the band Tom Hayes on lead guitar, Nick Linton-Smith on bass and Tony Wood on drums, were all retiring. Shame as this was a consummate line up, and this show was a super send off. Look out for Lew’s next project.
This line up has been consistent for six years, although there was a slight disappointment as Lew announced that the three lads in the band Tom Hayes on lead guitar, Nick Linton-Smith on bass and Tony Wood on drums, were all retiring. Shame as this was a consummate line up, and this show was a super send off. Look out for Lew’s next project.
Mary-Ann
Don’t Miss Mary-Ann. Final act on Friday Estonia’s Mary Ann with the Berlin Boys (or Cherry Casino and the Gamblers, Ike and the Capers etc etc if you will). Mariann Lants had played the Rave a few years ago with the Tri-Tones, and tore the place up, so it was a welcome return. Indeed, she represented the only female act on at this particular Rave.
Fast forward to the present day, and here she was again, rocking out an olive green dress, loads of tumbling blonde locks and slinging her acoustic rhythm guitar. The show was a joy from start to finish and the Berlin Boys were the perfect backing for her. ‘Shout Baby Shout’ opened followed by a corking take on ‘Mr Lee’. Rose Maddox’s ‘My Little Baby’ rocked as did Linda Glover’s ‘Counting Sheep Over You’, the ideal sound for her vocal delivery.
Loved Billy Harlan’s ‘I Wanna Bop’ and Ersel Hickey’s ‘Going Down That Road’ and Dodie Stevens’ ‘Pink Shoelaces’. ‘We’re Gonna Rock and Roll Tonight’ just about summed up the upbeat mood in the hall, and the encore of ‘Tongue Tied’ was a fitting end to an ace set. Suurepärane
Fast forward to the present day, and here she was again, rocking out an olive green dress, loads of tumbling blonde locks and slinging her acoustic rhythm guitar. The show was a joy from start to finish and the Berlin Boys were the perfect backing for her. ‘Shout Baby Shout’ opened followed by a corking take on ‘Mr Lee’. Rose Maddox’s ‘My Little Baby’ rocked as did Linda Glover’s ‘Counting Sheep Over You’, the ideal sound for her vocal delivery.
Loved Billy Harlan’s ‘I Wanna Bop’ and Ersel Hickey’s ‘Going Down That Road’ and Dodie Stevens’ ‘Pink Shoelaces’. ‘We’re Gonna Rock and Roll Tonight’ just about summed up the upbeat mood in the hall, and the encore of ‘Tongue Tied’ was a fitting end to an ace set. Suurepärane
The Lucky Bullets
Ain’t we Lucky? First cab off the rank Friday evening, the energetic Lucky Bullets, from Norway. Originating in Oslo around twelve years ago, it had been five years since they had graced the Rave main stage. So when the early strains of ‘End of the Line’ echoed round the hall, the audience fronted up around the stage, anticipating the inevitable explosion.
Explode it did, with lead singer Tank Harvey flying around the stage, strumming the bejesus out of his rhythm guitar, and delivering punchy and pacey tunes ‘Name Tattoo’, ‘Saturday Night’ and ‘High on Fire’. Neil Sedaka’s ‘I Go Ape’ benefited from the Norwegian treatment, and the classic ‘Gold Digger’ stood out too. ‘Cry of the Wild Goose’ topped off the set, and the tear-up of ‘Sixteen Chicks’ made for a breathless encore.
Explode it did, with lead singer Tank Harvey flying around the stage, strumming the bejesus out of his rhythm guitar, and delivering punchy and pacey tunes ‘Name Tattoo’, ‘Saturday Night’ and ‘High on Fire’. Neil Sedaka’s ‘I Go Ape’ benefited from the Norwegian treatment, and the classic ‘Gold Digger’ stood out too. ‘Cry of the Wild Goose’ topped off the set, and the tear-up of ‘Sixteen Chicks’ made for a breathless encore.
Smalltown Casanovas
Big sound from Smalltown. Another returning band after a considerable absence, were the Smalltown Casanovas. This band play a slightly unconventional type of Rockabilly, and offered a contrast from the frantic act that had just finished. You can hear influences of all types of Roots music, from Folk to Jazz, within their show.
Much of the set wasn’t familiar to many. however the band won new fans with tunes like ‘As Long as I Live’, ‘One After 909’ ‘Am I to be the One’ and ‘Six Feet Under’, all of which grace a super EP on Witchcraft Records. Right in among these tracks, a barely recognisable reworking of ‘I Put a Spell on You’ and the finale of ‘Shot Down’. Solid show folks.
Much of the set wasn’t familiar to many. however the band won new fans with tunes like ‘As Long as I Live’, ‘One After 909’ ‘Am I to be the One’ and ‘Six Feet Under’, all of which grace a super EP on Witchcraft Records. Right in among these tracks, a barely recognisable reworking of ‘I Put a Spell on You’ and the finale of ‘Shot Down’. Solid show folks.
Shaun Young and the Three Ringers
Three rings. Shaun Young, the of High Noon and The Texas Blue Dots, is now fronting another band, with the Three Ringers. A ringer in the USA, is someone hired by a company for uses other than their job, for example an ex MBL pitcher, just to join the company baseball team.
The Ringers in this case, Todd Wulfmeyer on bass, Tjarko Jeen on lead guitar and the omnipresent Bobby Trimble on drums. And let’s get this straight, they are spectacular. Add to this, the vocal adeptness of Shaun and you have a show, readers, as ‘Knockout’ opened up.
Some of the song’s sentiments were a little on the sad sounding side, the calibre of ‘Heartache Heartbreak’, ‘My Heartaches Been Confirmed’, and ‘Drink ‘til I Can Feel the Pain’, but the delivery was exquisite. I could run out of superlatives for Tjarko’s guitar work on ‘Jeen’s Jive’ a Gretsch-tastic instrumental that had Cliff Gallup running through it. Everywhere you could pick out riffs from the original, played by today’s master.
As I was chatting to a mate describing the cover of the 45, ‘Wiggle Walk’, sure enough, it was the encore track that ended a supercool show.
The Ringers in this case, Todd Wulfmeyer on bass, Tjarko Jeen on lead guitar and the omnipresent Bobby Trimble on drums. And let’s get this straight, they are spectacular. Add to this, the vocal adeptness of Shaun and you have a show, readers, as ‘Knockout’ opened up.
Some of the song’s sentiments were a little on the sad sounding side, the calibre of ‘Heartache Heartbreak’, ‘My Heartaches Been Confirmed’, and ‘Drink ‘til I Can Feel the Pain’, but the delivery was exquisite. I could run out of superlatives for Tjarko’s guitar work on ‘Jeen’s Jive’ a Gretsch-tastic instrumental that had Cliff Gallup running through it. Everywhere you could pick out riffs from the original, played by today’s master.
As I was chatting to a mate describing the cover of the 45, ‘Wiggle Walk’, sure enough, it was the encore track that ended a supercool show.
Hot Boogie Chillun
Heiss. There was a buzz in the hall, as for the first time in fifteen years or so, Hot Boogie Chillun were going to play in the UK. The band had brought the nostalgic generation in and loads of the youngsters who had hardly been spawned last time they were on a British stage. They mix Rockabilly with thundering rocking blues, surf and garage, at a level that could make your ears bleed.
The crowd were rapturous throughout and the three guys in the band were certainly enjoying playing their classic tunes. Every time a certain chord was struck, the cheers were deafening. ‘Black Cat’s Bone’ raised the roof, so did ‘Chillun Walk’ and ‘Desperado Love’. But for sheer racket, ‘F*ckin Sweet’ , that was on the LP ‘Sweets’, saw the place all but come unglued at the seams. Sure they are an acquired taste, and it’s a taste the majority in the hall already had.
The crowd were rapturous throughout and the three guys in the band were certainly enjoying playing their classic tunes. Every time a certain chord was struck, the cheers were deafening. ‘Black Cat’s Bone’ raised the roof, so did ‘Chillun Walk’ and ‘Desperado Love’. But for sheer racket, ‘F*ckin Sweet’ , that was on the LP ‘Sweets’, saw the place all but come unglued at the seams. Sure they are an acquired taste, and it’s a taste the majority in the hall already had.
Jack Rabbit Slim
Slip out the back Jack. Rounding off the night, the last show at the Rockabilly Rave for Jack Rabbit Slim. Bob Butfoy remains the only original member, with Tony Hillebrandt on drums, Nico Sc’erri on bass and Gautier Golab, lead guitar.
We had seen the band’s first ever performance, been there through Sleazabilly, and now here we are along with many other fans from the last dozen years plus, digging the sounds for one of the last shows before the band and name is retired.
It was cool to hear ‘Cherry Pie’, which debuted at that first ever show, along with JRS stalwart songs ‘Rocka Cha’, ‘Blues Caravan’, ‘Rabbit Love’ and ‘Kitten With a Whip’. Elvis’ ‘Wolf Call’ sounded excellent, as did the Johnny Burnette styled ‘High Tone Woman’. There was even space for ‘Tight When Loose’ from the new album, and inevitably, the encore of ‘Justine’. Thanks for the memories!
We had seen the band’s first ever performance, been there through Sleazabilly, and now here we are along with many other fans from the last dozen years plus, digging the sounds for one of the last shows before the band and name is retired.
It was cool to hear ‘Cherry Pie’, which debuted at that first ever show, along with JRS stalwart songs ‘Rocka Cha’, ‘Blues Caravan’, ‘Rabbit Love’ and ‘Kitten With a Whip’. Elvis’ ‘Wolf Call’ sounded excellent, as did the Johnny Burnette styled ‘High Tone Woman’. There was even space for ‘Tight When Loose’ from the new album, and inevitably, the encore of ‘Justine’. Thanks for the memories!
Eddie and the Headstarts
Hey Mr DJ (and Mrs). I’m not sure we saw all the DJs play a set, certainly we did in the upstairs room. Jimmy Guntrip’s opening set on Thursday, choc full of classic Rockabilly, Marc Rondeau, Steve Stack of Wax, Billy Brookes, El Dedo, Little Carl, Lauren Brown, Annaleigh, Carrie Hope and Blip Blop. Each DJ had their own style and stamp on the event. If we didn’t mention your favourite, or indeed you, it was probably that we didn’t see your set. Nothing personal (Bettajive disclaimer)
Quick nick into the Vic. Being vertically challenged as we are, arriving a nanno-second after the band starts in the Queen Vic pub, means we are way at the back and unable to see all but the tallest of players on stage. Clearly it was Jack and the Real Deals, as we could hear ‘Joker’s Wild’, ‘Chains of Love’ and the like, and the assembled early birds (trust me, 1pm is early at the Rave) loved it.
Ed Start Into the downstairs hall, and another band new to us hailing from Paris, Eddie and the Headstarts. This is Rockabilly in it’s simplest and most effective form, just lead and rhythm guitars and an upright bass. The result? A catchy rhythm and full infectious sound & beat. Lead singer Eddie Gazel, looking sharp with his monogrammed Maverick tie, is a power-pack on vocals an rhythm, backed wonderfully by Stephane Beaussard and Thibaut Chopin.
Their selection, was ideal for the afternoon session, you’ve got to get some of ‘My Name is Eddie’, ‘The Cramp’ and ‘Midnight Blues’ for example. Their CD ‘It Feels So Good’ is only a couple of months old, and the title track impressed, as did their version of ‘Blues Stop Knocking’, and the addition of a $ in the guitar strings added authenticity to the version of ‘Mama’s Little Baby’. Great stuff.
Quick nick into the Vic. Being vertically challenged as we are, arriving a nanno-second after the band starts in the Queen Vic pub, means we are way at the back and unable to see all but the tallest of players on stage. Clearly it was Jack and the Real Deals, as we could hear ‘Joker’s Wild’, ‘Chains of Love’ and the like, and the assembled early birds (trust me, 1pm is early at the Rave) loved it.
Ed Start Into the downstairs hall, and another band new to us hailing from Paris, Eddie and the Headstarts. This is Rockabilly in it’s simplest and most effective form, just lead and rhythm guitars and an upright bass. The result? A catchy rhythm and full infectious sound & beat. Lead singer Eddie Gazel, looking sharp with his monogrammed Maverick tie, is a power-pack on vocals an rhythm, backed wonderfully by Stephane Beaussard and Thibaut Chopin.
Their selection, was ideal for the afternoon session, you’ve got to get some of ‘My Name is Eddie’, ‘The Cramp’ and ‘Midnight Blues’ for example. Their CD ‘It Feels So Good’ is only a couple of months old, and the title track impressed, as did their version of ‘Blues Stop Knocking’, and the addition of a $ in the guitar strings added authenticity to the version of ‘Mama’s Little Baby’. Great stuff.
Los Volidos
From France, to Spain and Los Volidos sharply dressed lads in their brown hats and black jackets, powering onto the stage with their version of ‘Driving Wheel’. This was another sound show downstairs with the play list including a first rate ‘Go Boy Go’ and ‘Johnny Law’ , the suggestively titled ‘Ride on me Baby’, and a brace of hot roddery sounding tunes ‘Hot Rod Boogie’ and ‘Hot Rod Nite’
Mons Wheeler
Wheel remember this. Another debut band, combining an Irish vocalist and three Scottish musicians, forming Rampage Records recording artist, Mons Wheeler and the Tone Kings. Lead singer Mons was already known to some of the audience, as one greased up rave-r shouted something incoherent, but clearly amusing to him just before the show. And what a show.
This cat can sing folks, and the set was off the beaten track, starting with Marty Robbins’ ’56 ‘B’ side, ‘Respectfully Miss Brookes’. Sure two standards followed ‘All I Can Do Is Cry’ and ‘Knee Deep in the Blues’, then we got the versatility of the band with their own ‘Down by the Bay’ which is one side of their latest single, and it’s a beauty!
Relating a tale of when his school was bombed, as a very young lad, Mons recalled the song he sang that day. Just him and his acoustic rhythm guitar and a version of ‘The Cattle Call’, which would have brought a tear to a glass eye. Outstanding.
Back on the rockers with the Everly’s ‘Claudette’, the flip of the 45rpm, ‘Nothing but Pain’ and topped off with some Jimmy Wages, with ‘Miss Pearl’. The world needs to hear more of these guys!
This cat can sing folks, and the set was off the beaten track, starting with Marty Robbins’ ’56 ‘B’ side, ‘Respectfully Miss Brookes’. Sure two standards followed ‘All I Can Do Is Cry’ and ‘Knee Deep in the Blues’, then we got the versatility of the band with their own ‘Down by the Bay’ which is one side of their latest single, and it’s a beauty!
Relating a tale of when his school was bombed, as a very young lad, Mons recalled the song he sang that day. Just him and his acoustic rhythm guitar and a version of ‘The Cattle Call’, which would have brought a tear to a glass eye. Outstanding.
Back on the rockers with the Everly’s ‘Claudette’, the flip of the 45rpm, ‘Nothing but Pain’ and topped off with some Jimmy Wages, with ‘Miss Pearl’. The world needs to hear more of these guys!
Dr. Bontempi's Snake Oil Company
Oh Doctor! Saturday night and a real mix of acts and styles, one might say, something for everyone, starting with Dr Bontempi’s Snake Oil Company. Now a lot of people know Marcel Bontempi for his Headless Horseman, Spiderman, Train of Sin, Dig a Hole stuff. This is different, it’s erring toward Western Swing with a Gypsy Jazz lilt, and an off the wall vibe, described on their Facebook page as a ‘religious organisation’
They’d co-opted the sliding steel talents of Phil Morgan, to complement the fiddle/guitar/dog house sound. The selection of songs contained some familiar titles, presented in an unfamiliar way in some cases. ‘Who Said Shorty Was Coming Back’ for one example, stripped down, and a call and answer vocal style. Carl Perkins’ ‘Dixie Fried’ for another, a slightly slower tempo, a ‘chunk chunk’ rhythm, and cool harmonica sound.
‘Country Cousin’ and the ‘Hawaiian War Chant’, added to the delights, and the encore of ‘Diesel Smoke, ‘Dangerous Curves’ was just exquisite.
They’d co-opted the sliding steel talents of Phil Morgan, to complement the fiddle/guitar/dog house sound. The selection of songs contained some familiar titles, presented in an unfamiliar way in some cases. ‘Who Said Shorty Was Coming Back’ for one example, stripped down, and a call and answer vocal style. Carl Perkins’ ‘Dixie Fried’ for another, a slightly slower tempo, a ‘chunk chunk’ rhythm, and cool harmonica sound.
‘Country Cousin’ and the ‘Hawaiian War Chant’, added to the delights, and the encore of ‘Diesel Smoke, ‘Dangerous Curves’ was just exquisite.
Colton Turner
Spot on Colton. From Austin Texas, another debut, Colton Turner, was up next. Pencil slim and tall, and understated visually, but musically a treat. The somewhat serene ‘Saturday Night’ appropriately opened the show, with the rocker ‘That’s Right’.
One of the tracks on his El Toro release suggests ‘Honk Tonkin Ain’t What It Used To Be’, sure enough, this guy shows what it’s like today, and it’s ace! Sure they covered a brace of Glen Glenn tracks with a pretty-much-perfect ‘One Cup Of Coffee and a Cigarette’ standing tall. Another winner on the main stage.
One of the tracks on his El Toro release suggests ‘Honk Tonkin Ain’t What It Used To Be’, sure enough, this guy shows what it’s like today, and it’s ace! Sure they covered a brace of Glen Glenn tracks with a pretty-much-perfect ‘One Cup Of Coffee and a Cigarette’ standing tall. Another winner on the main stage.
Doug Kershaw
Diggy diggy Doug. Top of the bill act for many, sprightly eighty two year old Doug Kershaw, backed by the Dave and Deke Combo. Unless you’ve been asleep under a rock for all these years, he wouldn’t need any introduction, having been a performer since 1948 (with a break for military service).
Dave Stuckey and Deke Dickerson make up the combo, by name, and they whetted the appetite with a couple of duets, like ‘I’m Just too Lazy’ breaking the music stand in the process, before the main event made his entrance. A slight fellow, in a black and white western shirt with horse head emblems on it, took to the stage with his bow and fiddle, and a huge smile. The place went nuts as he slid the bow over the strings for the opening bars of ‘Diggy Liggy Lo’. Sawing on the fiddle, not even playing it under his chin, just resting it on the crook of his elbow, it was something to see him play the tune note perfect.
The ‘Ragin Cajun’ as he was often referred to throughout, was a pleasure to watch and hear as song after song captured the audience. ‘Hey Sheriff’ what a delight, and the extended and idiosyncratically delivered ‘Hey Mae’ had many reminiscing about the first time they’d heard it, jived to it or bopped to it.
One of the biggest cheers was when Doug announced that he’d done Cajun, Country, and now he was doing Rockabilly! Deke took on the Wiley Barkdull role as ‘So Lovely Baby’ made the hairs stand up on our necks. The word soup that is ‘Cajun Joe (Bully of the Bayou) was delivered with assurance and panache. We went back even further to the pre-Hickory Records days, as Doug and the band recited ‘It’s Better to be a Has Been Than a Never Was’ from 1953 on Feature Records.
Dave Stuckey and Deke Dickerson make up the combo, by name, and they whetted the appetite with a couple of duets, like ‘I’m Just too Lazy’ breaking the music stand in the process, before the main event made his entrance. A slight fellow, in a black and white western shirt with horse head emblems on it, took to the stage with his bow and fiddle, and a huge smile. The place went nuts as he slid the bow over the strings for the opening bars of ‘Diggy Liggy Lo’. Sawing on the fiddle, not even playing it under his chin, just resting it on the crook of his elbow, it was something to see him play the tune note perfect.
The ‘Ragin Cajun’ as he was often referred to throughout, was a pleasure to watch and hear as song after song captured the audience. ‘Hey Sheriff’ what a delight, and the extended and idiosyncratically delivered ‘Hey Mae’ had many reminiscing about the first time they’d heard it, jived to it or bopped to it.
One of the biggest cheers was when Doug announced that he’d done Cajun, Country, and now he was doing Rockabilly! Deke took on the Wiley Barkdull role as ‘So Lovely Baby’ made the hairs stand up on our necks. The word soup that is ‘Cajun Joe (Bully of the Bayou) was delivered with assurance and panache. We went back even further to the pre-Hickory Records days, as Doug and the band recited ‘It’s Better to be a Has Been Than a Never Was’ from 1953 on Feature Records.
Dave Stuckey
The biographical ‘Louisiana Man’ was sublime too. Massive mention for Dave Stuckey who vocally was with Doug all the way. ‘What key’s this one in?’ asks Doug. ‘C’ answers Dave. ‘C?’ replies Doug in mock astonishment, and away we went again. ‘The Supernatural Doug Kershaw’, says Dave. ‘I may well be super’ answers Doug with a fill-in-your-own-punchline pause. ‘Hey Mae’ was reprised again, and to be honest he could have sung that song all through the set and no one would have minded. Matchless performance.
Scotty Baker
The Fifth attendant. It seems that there was never a time when we didn’t know the name Scotty Baker. From that first show at Rave #17 in 2013, talented songwriter and singer Scotty has wowed audiences across the globe, with his cleverly constructed lyrics and varied singing styles. This one represented his fifth Rockabilly Rave out of the last six, and once again it was the Doel Brothers backing him up, with fellow Aussie Ezra Lee on piano, and sax ace Kenny Tomlinson from Scotland on sax.
The embittered and venomous ‘Wasted my Name’ opened the show, as it has done before, a song about marrying in haste and finding it was the wrong choice. If there has been a track that has filled floors across this fair land with more regularity than ‘Pop The Question’, I’d like to know about it.
Loved ‘Bump Stops’, ‘My Baby’s Dress’, ‘Move Back to the Country’ (the answer to ‘Move to the City’) and the sauce-fest that it ‘Katerina’ in among a ripper of a set, he says without the slightest stereotype. Scotty’s popularity is as consistent as ever, and his show every bit as flawless.
The embittered and venomous ‘Wasted my Name’ opened the show, as it has done before, a song about marrying in haste and finding it was the wrong choice. If there has been a track that has filled floors across this fair land with more regularity than ‘Pop The Question’, I’d like to know about it.
Loved ‘Bump Stops’, ‘My Baby’s Dress’, ‘Move Back to the Country’ (the answer to ‘Move to the City’) and the sauce-fest that it ‘Katerina’ in among a ripper of a set, he says without the slightest stereotype. Scotty’s popularity is as consistent as ever, and his show every bit as flawless.
Delta Bombers
Kaboom! OK tin hat time, the Delta Bombers are on stage to close the Saturday night out. Masses around the front as the Wild records four piece Chris Moinichen, Andrew Himmler, Gregorio Garcia, Kirk Highberger exploded on to the stage, with their kick-arse, down and dirty Rock n Roll
The anthemic rocker, ‘The Wolf’ was greeted with tremendous adulation, as was ‘Sorrow and Pain’. The joint was jumping throughout an hour long set. It’s not for me, but hey, what do I know? (rhetorical question), several hundred people jumpin in unison , can’t be wrong!
The anthemic rocker, ‘The Wolf’ was greeted with tremendous adulation, as was ‘Sorrow and Pain’. The joint was jumping throughout an hour long set. It’s not for me, but hey, what do I know? (rhetorical question), several hundred people jumpin in unison , can’t be wrong!
Mo raving dot….dot Some more best tracks at the Rave ever ever to de-slug your chalet are Royce Porter ‘A Woman Can Make You Blue’, Charlie Rich’s ‘Philadelphia Baby’ and Charlie Feathers' 'That Certain Female' …….With four days, goodness knows how many records, over sixty hours entertainment on offer, and over thirty acts, it’s fair to say no one will like everything. So this article is my viewpoint…….Shameful modern day ducking stool mentality on social media following one record apparently played at silly o’clock in the morning. However not for one DJ whose set didn’t contain a single Rockabilly tune…… Thank heavens for those who still worship at the alter of ‘Jitterbop Baby’, so good to hear that a number of times over the weekend……How come the same French guy gets lost outside our chalet every year at 3am and has to find his way by yelling at the top of his voice?.......’Why don’t you ever write about the cars?’ I was asked. Well I know that a car has a wheel at each corner for balance and you put fuel in it. That is all……..I wonder what the percentages are for, when a hot rod gurgles by, people stop and look in admiration, and for when the driver revs it so much it scares the crap out of you? And what percentage cheer, or just think ‘Tw*t’……We had a rather static Rave this time, as June’s knee hadn’t recovered fully from surgery. Amazing how such a metaphorical ball and chain changes your outlook at an event……Jerry Chatabox’s program notes, and the occasional sideways swipe contained therein. Surreptitious barbs that occasionally lacked the necessary surreptitiousness to remain surreptitiously surreptitious……
Same Old Shoes
A Shoe-in. Sunday already? How did that happen! But hey, three more bands downstairs to enjoy, starting with the intriguingly named Same Old Shoes from Forli in Italy. From the opening bars of the sublime ‘Shoop Shoop’ everyone knew they were in for a bit of a treat. A talented four piece, with Dario Magnani expertly delivering the vocals and skilful lead guitar work from David Biserna.
This set mixed up classic rockers like ‘Bottle To The Baby’, ‘Sag Drag and Fall’ and some cool yip-yip in ‘Sweet Rockin’ Mama’, with their own music. Such is the quality of their own material, it stands well with the covers, ‘Real Gone Baby’ and ‘Can’t Get Enough’ for example. Interested to hear their cover of ‘Beautiful Baby’ originally written by Felice and Boudleaux Bryant, the partnership responsible for a lot of Everly Brothers material among others. A great set!
This set mixed up classic rockers like ‘Bottle To The Baby’, ‘Sag Drag and Fall’ and some cool yip-yip in ‘Sweet Rockin’ Mama’, with their own music. Such is the quality of their own material, it stands well with the covers, ‘Real Gone Baby’ and ‘Can’t Get Enough’ for example. Interested to hear their cover of ‘Beautiful Baby’ originally written by Felice and Boudleaux Bryant, the partnership responsible for a lot of Everly Brothers material among others. A great set!
Lightning Ranch Boys
Lightning bolt. Time now for a bit of Western Bop, with a German combo The Lightning Ranch Boys, led by vocalist Joe Crocetti, to start with anyway reciting Ferlin Huskey’s ‘Bebe Beautiful Baby’ with excellent accuracy. Must mentions also included Faron Young’s ‘If You Ain’t Lovin’ You Ain’t Livin’ and Bill Wimberley’s ’56 cut on Mercury ‘Ole Mister Cottontail’.
Switch round and different vocalist, different vibe with ‘Mobile’ and ‘Sugar Doll’ before another change and a laudable rendition of ‘Jitterbop Baby’ , plus ‘Italian Belle’ and ‘Easy Money’. A cool change of pace during a hot set.
Switch round and different vocalist, different vibe with ‘Mobile’ and ‘Sugar Doll’ before another change and a laudable rendition of ‘Jitterbop Baby’ , plus ‘Italian Belle’ and ‘Easy Money’. A cool change of pace during a hot set.
Paul Ansell's No 9
Paul, that’s all. The crowd swelled (nothing to do with over imbibing of the local libations) for the final act downstairs of Rave 22, Paul Ansell’s No9. It’s been a while since the band had played the Rave, Paul himself had guested on a few shows in between times, and it was clear just how many wanted to see him back with his band.
This was a very diverse set, with out and out Rockabilly classics, ‘Lonesome Train’, the catchy beat of ‘Rockin’ in Memphis’ and ‘I’ll Cry Instead’. From the ‘Movin’ On’ album we also heard ‘Jukebox has Found a Friend’. Favourites ‘Sea of Heartbreak’, ‘Passengers’ and ‘Red Light Spells Danger’ made their customary appearances.
There was even time for a bit of ska sound ‘I’ll Never Let You Go’, and some Billy Fury from the early 60’s in ‘I’d Never Find Another You’, and a tip of the Stetson to Bullmoose Jackson with ‘Big Ten Inch’. A rowdily received set to top off Sunday downstairs.
This was a very diverse set, with out and out Rockabilly classics, ‘Lonesome Train’, the catchy beat of ‘Rockin’ in Memphis’ and ‘I’ll Cry Instead’. From the ‘Movin’ On’ album we also heard ‘Jukebox has Found a Friend’. Favourites ‘Sea of Heartbreak’, ‘Passengers’ and ‘Red Light Spells Danger’ made their customary appearances.
There was even time for a bit of ska sound ‘I’ll Never Let You Go’, and some Billy Fury from the early 60’s in ‘I’d Never Find Another You’, and a tip of the Stetson to Bullmoose Jackson with ‘Big Ten Inch’. A rowdily received set to top off Sunday downstairs.
Doel Brothers
Band of Brothers. Upstairs for the final night, and Rave regulars, the Doel Brothers kicked it all off. In an upbeat set, they started off with a bounce and ‘Rockin’ and Flyin’. Gotta flag up ‘Juke Joint Johnnie’ and ‘Go Boy Go’, great accounts of popular tunes, musically and vocally.
The three brothers, along with Steve Apache on upright bass and Phil Morgan, reclaimed from the other guest appearances, as steel guitarist, drew a good crowd despite the early hour of their performance. They also showcased a new song ‘New England in the Fall, Let’s Have a Ball’, and guess what, they’re playing in New England this very fall. Cool beans
‘Country Bum’ and ‘Beer Bucket Blues’ hit the mark as did the encore of ‘Pig Pen Boogie’. High standards as always in a Doel Brothers show.
The three brothers, along with Steve Apache on upright bass and Phil Morgan, reclaimed from the other guest appearances, as steel guitarist, drew a good crowd despite the early hour of their performance. They also showcased a new song ‘New England in the Fall, Let’s Have a Ball’, and guess what, they’re playing in New England this very fall. Cool beans
‘Country Bum’ and ‘Beer Bucket Blues’ hit the mark as did the encore of ‘Pig Pen Boogie’. High standards as always in a Doel Brothers show.
Weeeellll. It was time for the now regular artist tribute section of the Rave, this year, Gene Vincent. This show I reckon, came under as much scrutiny and interest as any that had gone before. The backing band consisted of Darrel Higham, Graham Murphy, Pete Pritchard and Rob Tyler, and a number of different vocalists, performing a variety of Gene’s tracks.
Most of it, unsurprisingly, was from Gene’s catalogue of Capitol Records recordings, involving Go Getter Peter Sandeberg showcasing ‘Rave With The Devil’, Lew Lewis ‘Jump Giggles and Shouts’, Deke Dickerson ‘Rocky Road Blues’ and Lotta Lovin’ for example. Joe Newbon took on the most frantic hits like ‘Who Slapped John’ and ‘Bi Bickey Bi Bo Bo’.
For the more unusual approach, we had Paul Ansell, who performed a cracking take on ‘Unchained Melody’ and one from Gene’s mid 60’s Challenge sessions, ‘Poor Man’s Prison’. Dave Phillips, the one time go-to guy for all things Vincent years ago, swung in from Germany to take on the likes of ‘Red Blue Jeans and a Ponytail’ and ‘Well I Knocked Bim Bam’.
Lew Lewis and Dave Phillips took the encores of ‘Double Talkin’ Baby’ and ‘Hold Me hug me Rock Me’ to close a solid tribute to the Cat Man. I’m not sure it reached the heights of previous year’s tribute shows, but it was a good ‘un nonetheless.
Most of it, unsurprisingly, was from Gene’s catalogue of Capitol Records recordings, involving Go Getter Peter Sandeberg showcasing ‘Rave With The Devil’, Lew Lewis ‘Jump Giggles and Shouts’, Deke Dickerson ‘Rocky Road Blues’ and Lotta Lovin’ for example. Joe Newbon took on the most frantic hits like ‘Who Slapped John’ and ‘Bi Bickey Bi Bo Bo’.
For the more unusual approach, we had Paul Ansell, who performed a cracking take on ‘Unchained Melody’ and one from Gene’s mid 60’s Challenge sessions, ‘Poor Man’s Prison’. Dave Phillips, the one time go-to guy for all things Vincent years ago, swung in from Germany to take on the likes of ‘Red Blue Jeans and a Ponytail’ and ‘Well I Knocked Bim Bam’.
Lew Lewis and Dave Phillips took the encores of ‘Double Talkin’ Baby’ and ‘Hold Me hug me Rock Me’ to close a solid tribute to the Cat Man. I’m not sure it reached the heights of previous year’s tribute shows, but it was a good ‘un nonetheless.
Deke, Peter and Lewis
|
Joe Newbon
|
Paul Ansell
|
Dave Phillips
|
Go Get ‘em. As with the previous three nights, the final act was loud and proud. This time it was the Go Getters from Sweden, led by Peter Sandeberg in his characteristic black clothing and sunglasses, and stood behind his upright drum kit.
From there, it was non stop, frenetic, thundering, rocking stuff, from ‘Welcome to My Hell’, to ‘Like a Wolf’, ‘Teenage Kicks’ and ‘Mexico’, you get the picture. For many who had stuck around, it was a fitting end to the live entertainment of another top Rockabilly Rave.
Boo hoo. As if it isn’t bad enough on any Monday morning, waking to the dawn chorus of the rumbling dumpster train, incessant gull squawking after left overs from people’s chalets, folk having a hawk and a spit and the trundling sound of wheel along cases, heralds the end of the Rave. Yes readers, it’s time to take down those flags of origin, put away your music and head out of those gates into the ghastliness of normality.
Rave 22 had so many high spots. Musicians on top form, and applauding other musicians also on top form. A diversity of sounds and styles that fitted everyone’s brief. Top sound quality, and a timetable that ran like clockwork.
And above all? The promise of it all happening again next year with some bands already booked. Dig it
© Andrew Smith, June Smith, The Bettajive review, July 2018
From there, it was non stop, frenetic, thundering, rocking stuff, from ‘Welcome to My Hell’, to ‘Like a Wolf’, ‘Teenage Kicks’ and ‘Mexico’, you get the picture. For many who had stuck around, it was a fitting end to the live entertainment of another top Rockabilly Rave.
Boo hoo. As if it isn’t bad enough on any Monday morning, waking to the dawn chorus of the rumbling dumpster train, incessant gull squawking after left overs from people’s chalets, folk having a hawk and a spit and the trundling sound of wheel along cases, heralds the end of the Rave. Yes readers, it’s time to take down those flags of origin, put away your music and head out of those gates into the ghastliness of normality.
Rave 22 had so many high spots. Musicians on top form, and applauding other musicians also on top form. A diversity of sounds and styles that fitted everyone’s brief. Top sound quality, and a timetable that ran like clockwork.
And above all? The promise of it all happening again next year with some bands already booked. Dig it
© Andrew Smith, June Smith, The Bettajive review, July 2018
Hot lincs
Bob and the Bearcats
Porky's Hot Rockin'
Hot Rock n Boogie Weekender
Review by Andrew Smith
May, means spring, and this particular May, brought a brand new weekender to the calendar, Hot Rock n Boogie. The brainchild of Claire Seabrook and her husband Neil, of Boston Jive, the event took place over two days at the Springfields Events and Conference Centre in the town of Spalding in the South Holland district of Lincolnshire. Thirteen bands, and three DJs over twenty five hours.
The three DJs, Reverend Boogie, Miss Aloha and Mr Big Feet (Andrew Hall, Julie Miranda and Ross Pickwell-Smart) alternated between bands, which were spaced an hour apart. So the format went, records for and hour, then a band would do an hour set and so on.
The early(ish) start of 10am didn’t deter the people coming in, and indeed the occasional dancing couple took to the vast dancefloor, during that initial build up. There were stalls within the hall and in a room out the back of the venue, and these were varied and familiar traders, selling clothing, shoes, records and accessories.
First band up, over from Cromer, the force of nature that is Porky’s Hot Rockin’ . Any suggestion that the early start might see an easing into the set was blown completely out of the water as he and the band launched into their trademark version of ‘Summertime Blues’. Over the years, Porky has built up an impressive catalogue of material that can be tailored to each show, and there was something for just about everyone in this one.
He loves Johnny Horton, and ‘One Woman Man’ and ‘I’m Coming Home’ both hit the mark, as did the brace of Billy Fury covers, the stroll beat of ‘Wondrous Place’ and the upbeat ‘Turn My Back On You’. Gene’s ‘Dance to the Bop’ got a reworking, and lob in powerhouse versions of ‘Driving Wheel’ ‘Your True Love’, ‘Ice Cold and ‘Susie Q’ . Plenty of light and shade, a cool vibe and top musicianship to get the ball rolling.
Review by Andrew Smith
May, means spring, and this particular May, brought a brand new weekender to the calendar, Hot Rock n Boogie. The brainchild of Claire Seabrook and her husband Neil, of Boston Jive, the event took place over two days at the Springfields Events and Conference Centre in the town of Spalding in the South Holland district of Lincolnshire. Thirteen bands, and three DJs over twenty five hours.
The three DJs, Reverend Boogie, Miss Aloha and Mr Big Feet (Andrew Hall, Julie Miranda and Ross Pickwell-Smart) alternated between bands, which were spaced an hour apart. So the format went, records for and hour, then a band would do an hour set and so on.
The early(ish) start of 10am didn’t deter the people coming in, and indeed the occasional dancing couple took to the vast dancefloor, during that initial build up. There were stalls within the hall and in a room out the back of the venue, and these were varied and familiar traders, selling clothing, shoes, records and accessories.
First band up, over from Cromer, the force of nature that is Porky’s Hot Rockin’ . Any suggestion that the early start might see an easing into the set was blown completely out of the water as he and the band launched into their trademark version of ‘Summertime Blues’. Over the years, Porky has built up an impressive catalogue of material that can be tailored to each show, and there was something for just about everyone in this one.
He loves Johnny Horton, and ‘One Woman Man’ and ‘I’m Coming Home’ both hit the mark, as did the brace of Billy Fury covers, the stroll beat of ‘Wondrous Place’ and the upbeat ‘Turn My Back On You’. Gene’s ‘Dance to the Bop’ got a reworking, and lob in powerhouse versions of ‘Driving Wheel’ ‘Your True Love’, ‘Ice Cold and ‘Susie Q’ . Plenty of light and shade, a cool vibe and top musicianship to get the ball rolling.
Eddie Martin
Then, the first metaphorical spanner was chucked into the timetable works, as it came to light that Phil Haley and the Comments had been stuck in France, and were running three hours late. Eddie Martin rallied his troops and dropped down a time slot to take their place.
Silver haired Eddie on bass takes most of the vocals, in a familiar set of covers with one of their own compositions, the title track of ‘Cadillac Joe’, which stands up very well with the covers. The set list had a slew to the dancers, with the likes of Moon Mullican’s ‘Seven Nights to Rock’ and ‘Rock n Roll Mister Bullfrog’, Fat’ ‘Be My Guest’ and Big Joe’s ‘Lipstick Powder and Paint’. Solid set, missing the other original from the CD ‘I’ll Never Get tired of Loving You’, but popular with the considerable numbers now in the hall.
Silver haired Eddie on bass takes most of the vocals, in a familiar set of covers with one of their own compositions, the title track of ‘Cadillac Joe’, which stands up very well with the covers. The set list had a slew to the dancers, with the likes of Moon Mullican’s ‘Seven Nights to Rock’ and ‘Rock n Roll Mister Bullfrog’, Fat’ ‘Be My Guest’ and Big Joe’s ‘Lipstick Powder and Paint’. Solid set, missing the other original from the CD ‘I’ll Never Get tired of Loving You’, but popular with the considerable numbers now in the hall.
Phil Haley and his Comments
By now, the breathless arrival of Phil Haley, was a relief for everyone connected with the weekender, and they took to the stage quick smart. It’s rare that you’d find anyone who hasn’t encountered this band over the years on the Rock n Roll circuit, or anyone unfamiliar with their style. They hit the groove straight away, with the likes of ‘Shake Rattle and Roll’, ‘Live It Up’ ‘See You Later Alligator’, ‘Sweet Sue’, with the gender adjusted version of Dolly Cooper’s ‘My Man’ bringing them out. Allen Paris’ ‘Rudy’s Rock’ on sax begat ‘Goofin’ Around’ in an instro break, and ‘Talk To Me’ is a must have. The classic blues bop beat heralds a gear switch as Phil Haley’s ‘Baby Where Are You’, thundered out through the hall. These lads were on top form, putting on a well received set.
The B Sides
Next up, a band new to us, the B-Sides, a trio of lads from Long Sutton, heavily leaning to the guitar sound, and a top sound it is too. It’s clear they like Eddie Cochran as the combination of ‘Skinny Jim’ ‘Somethin’ Else’, ‘Twenty Flight Rock’ and ‘Summertime Blues’ confirmed, along with a kickin’ version of Link Wray’s ‘Rawhide’.
Also up for note, ‘Charlie Crockett’, ‘Mercury’ and the JD McPherson title ‘Let the Good Times Roll’. The show created a pretty good impression, plenty of enthusiasm and powerfully delivered guitar licks and runs. The lads employ a bass guitar instead of the upright, and this works well with their style.
Also up for note, ‘Charlie Crockett’, ‘Mercury’ and the JD McPherson title ‘Let the Good Times Roll’. The show created a pretty good impression, plenty of enthusiasm and powerfully delivered guitar licks and runs. The lads employ a bass guitar instead of the upright, and this works well with their style.
Hicksville Bombers
Evening all. As afternoon gave way to evening, Lincoln based trio, the venerable Hicksville Bombers exploded onto the stage with their own brand of hi-octane rockin’. Winding up the air raid siren, here comes ‘Bombs Away’ which set a frantic pace, as it morphed into ‘Got The Bull By The Horns’. Lead guitarist Dave Brown is always up for a bit of verbals, (or ‘bants’ if your down wit da kids), with the audience, inviting requests during the set. ‘Low on Gas’ rocked out, and a more genteel sound of ‘Changed My Mind About Leaving’ offered some respite, as did ‘Secret Love’
I don’t think it would be a Bombers’ set without the ‘Prettiest Girl in Town’, followed by a teeth rattling take on ‘Jungle Rock’ and AC DC’s ‘Whole Lotta Rosie’. Another go-to tune ‘I Like The Way You Move’ featured as did ‘Love Substitute’ and the finale of ‘Bad to the Bone’. Hard hitting stuff that captured the Saturday night feeling in the house.
I don’t think it would be a Bombers’ set without the ‘Prettiest Girl in Town’, followed by a teeth rattling take on ‘Jungle Rock’ and AC DC’s ‘Whole Lotta Rosie’. Another go-to tune ‘I Like The Way You Move’ featured as did ‘Love Substitute’ and the finale of ‘Bad to the Bone’. Hard hitting stuff that captured the Saturday night feeling in the house.
Tailfins
By ‘eck where do you go from there. Well, a change of pace and tempo and indeed style with the Tailfins, all in light blue. Their set, trod the well worn Rock n Roll path of classic crowd pleasers, the likes of ‘No Heart to Spare’, ‘Please Mama Please’, ‘Brand New Cadillac’, ‘Matchbox and ‘Wow Wow Baby’. Again, this filled the floor, which don’t consider to be something like your average badminton court in a village hall, this took quite a bit given the size of our venue here.
Sharna Mae
Rounding the night off, Sharna Mae and the Mayhems, who we haven’t seen much of lately, so it was good to get front and centre and take in their set. They’d had a day of it as well with a show in the afternoon in the Midlands, however the show was fresh and as vibrant as the colours in Sharna Mae’s top.
They opened with one off the CD, ‘Watching You’, which was a real in-your-face type opener, followed by the Ruth Brown classic, ‘Mama, He Treats Your Daughter Mean’. James Cook came to the centre to duet on Mickey and Sylvia’s ‘No Good Lover’. James then took vocals for ‘You Don’t Love Me’, a kickin’ version in the Shane Fenton style of ‘Sparkling Brown Eyes’ and a full on take of Hot Boogie Chillun’s ‘Looking Back’.
Another duet, this time the immensely popular Johnny and June’s ‘Jackson’, which suits them perfectly, and then Sharna Mae finished the set solo with the likes of ‘Black Cadillac’, ‘Mean Mean Man’ and their embittered ‘Sugar in the Tank’. Naturally there was an encore and the strains of ‘Tainted Love’ had people of a certain age nostalgically joining in. Top act to end the day with.
HR&Boogie dot….dot. Best tracks in the world at the Boogie, ever ever to slide on your concrete are Bobby Charles’ ‘See You Later Alligator’, ‘Silk Satin and Lace’ by Ray Scott & Combo and Neil Sedaka’s ‘I Go Ape’……Hugely contributory to the super ambience of the weekender, were the sound guys at this event. Top professionalism in such a large and somewhat vast hall, that made for a perfect resonance……Big up to the three DJs Miss Aloha, Reverend Boogie and Mister Big Feet. Three dancers that have their fingers on the pulse of a dance floor, and so many great sounds over the two days…Most covered track of the weekend, ‘Brand New Cadillac’….Don’t say the promoter doesn’t put everything into a weekender, Claire ended up with ice on her leg!........ The sound guys, perfectomundo!.......Good to see some of the circuit’s blue chip stalls selling their wares at the weekender. No ‘ram raid at a charity shop’ pseudo-vintage stalls here…..
Hello Sun. From the deluge that ended the Saturday, the sun put a different complexion on the Sunday ambience. Again we made it over to the site around the start of the show. Today started with the Retrobaits, a trio originating from Daventry, recording artists for Western Star.
We’d seen them once before, and this again was an impressive show, full of gear switches and tempo changes. Early doors you had the likes of ‘Pink n Black’, an out and out Rockabilly track, followed by the Cliques ‘I’m in Love With a Girl’. Good stuff, when you mix up ‘Don’t Be Gone Long’, with ‘Long Tall Girl’ and ‘Modern Romance’.
When you see these guys out on the circuit, be sure to check out ‘All Systems Go’ and ‘Your Squeezes Don’t Leave Me’, among Rockabilly classics like ‘One Hand Loose’ and ‘Everybody’s Tryin to Be My Baby’ for example. Good tight sound and a solid start to Sunday.
We’d seen them once before, and this again was an impressive show, full of gear switches and tempo changes. Early doors you had the likes of ‘Pink n Black’, an out and out Rockabilly track, followed by the Cliques ‘I’m in Love With a Girl’. Good stuff, when you mix up ‘Don’t Be Gone Long’, with ‘Long Tall Girl’ and ‘Modern Romance’.
When you see these guys out on the circuit, be sure to check out ‘All Systems Go’ and ‘Your Squeezes Don’t Leave Me’, among Rockabilly classics like ‘One Hand Loose’ and ‘Everybody’s Tryin to Be My Baby’ for example. Good tight sound and a solid start to Sunday.
Relentless
Next on, local-ish lads, Relentless. Now, it’s been a while since we’ve crossed paths with this kicking trio of Pagan Gould, Anthony Smith and Luke Fletcher. They grabbed the audience’s attention immediately they blasted out ‘King of Love’, with classics like ‘Rockin’ Daddy’, ‘Please Don’t Touch’ and ‘Ain’t That Lovin’ You Baby’.
The vocals are shared between Pagan and Anthony, and visually the show is vibrant and enthusiastic, with them taking on Springsteen’s ‘I’m On Fire’, Dion’s ‘Donna Prima Donna’ and the Stray Cats’ ‘Rock This Town’ I can’t argue with the last one, as they certainly did!
The vocals are shared between Pagan and Anthony, and visually the show is vibrant and enthusiastic, with them taking on Springsteen’s ‘I’m On Fire’, Dion’s ‘Donna Prima Donna’ and the Stray Cats’ ‘Rock This Town’ I can’t argue with the last one, as they certainly did!
Shane Baxendale
It seemed a few short minutes before the stage was set again, this time for Shane and the Korrados. It hasn’t been that long since we saw this band at Shake Rattle and Roll, so we were looking forward to catching another set, which kicked off in familiar style, with ‘Move It’.
Lead singer, Shane Baxendale, has a powerful set of pipes, and is clearly heavily influenced by Elvis, both visually, vocally, and indeed in the stage show. The Elvis covers were well chosen and well presented. ‘Shoppin’ Around’ set the strollers straight, ‘I Beg of You’, ‘I Got Stung’, ‘CC Rider’ and ‘I Need You Love Tonight’ were all worthy of note.
It was, however, three cracking versions of Elvis tunes that really lifted the roof off the place. The slowy, ‘Don’t’, excellent, ‘Can’t Help Falling in Love’ top drawer. But it was the take on Elvis’ ’72 showstopper ‘An American Trilogy’ that literally did stop the show. An outstanding vocal and visual performance, without it being a flaky impression. A true powerhouse, and worthy of being the encore.
And that should’ve been that for me, drop the mic and walk off with the cheers still ringing in your ears. I know this won’t be popular with many, but ‘Pink and Black Cadillac’ after ‘Trilogy’ was a bit after the Lord Mayor’s show for me.
Lead singer, Shane Baxendale, has a powerful set of pipes, and is clearly heavily influenced by Elvis, both visually, vocally, and indeed in the stage show. The Elvis covers were well chosen and well presented. ‘Shoppin’ Around’ set the strollers straight, ‘I Beg of You’, ‘I Got Stung’, ‘CC Rider’ and ‘I Need You Love Tonight’ were all worthy of note.
It was, however, three cracking versions of Elvis tunes that really lifted the roof off the place. The slowy, ‘Don’t’, excellent, ‘Can’t Help Falling in Love’ top drawer. But it was the take on Elvis’ ’72 showstopper ‘An American Trilogy’ that literally did stop the show. An outstanding vocal and visual performance, without it being a flaky impression. A true powerhouse, and worthy of being the encore.
And that should’ve been that for me, drop the mic and walk off with the cheers still ringing in your ears. I know this won’t be popular with many, but ‘Pink and Black Cadillac’ after ‘Trilogy’ was a bit after the Lord Mayor’s show for me.
The Houndogs
From there, a real incendiary performance from three energetic Wilson brothers, known as the Houndogs from nearby Holbeach. The barriers were moved that bit further away from the stage with the caution that there were pyrotechnics on offer in the show, just before they exploded onto the Spalding stage.
This set went at a skillion miles per hour, as the lads lurched, climbed and leapt around the stage, to instro tracks ‘Wipeout’ and ‘Guitar Boogie’, with firecrackers and flaming cymbals. Massively energetic performances of ‘Please Don’t Touch’ ‘Summertime Blues’ and ‘I Fought The Law’ followed with the inevitable Stray Cats inclusion of ‘Stray Cat Strut’.
You have to hand it to these lads, they play the whole set with broad grins, as ‘Matchbox’ topped off their set. Naturally, with the afterburn aroma of lighter fluid still hanging in the air, the crowd wanted more, and they got a rollicking send off with a thundering take on Stevie Ray Vaughn’s ‘The House is a-Rockin’ .
This set went at a skillion miles per hour, as the lads lurched, climbed and leapt around the stage, to instro tracks ‘Wipeout’ and ‘Guitar Boogie’, with firecrackers and flaming cymbals. Massively energetic performances of ‘Please Don’t Touch’ ‘Summertime Blues’ and ‘I Fought The Law’ followed with the inevitable Stray Cats inclusion of ‘Stray Cat Strut’.
You have to hand it to these lads, they play the whole set with broad grins, as ‘Matchbox’ topped off their set. Naturally, with the afterburn aroma of lighter fluid still hanging in the air, the crowd wanted more, and they got a rollicking send off with a thundering take on Stevie Ray Vaughn’s ‘The House is a-Rockin’ .
Glenn Darren
So where do you go from there? Glenn Darren and the Krew Kats provided a complete switch of gears, and for the most part material, as they put in an hour set of classic Rock n Roll tunes. Good for dancers, the likes of ‘Sweet Little Sixteen’ and ‘Roll on Clickety Clack’ , and the only time we heard ‘Pretty Lou’ covered during the weekend. Solid set, though I’m not sure they were in the right place in the schedule.
Revolutionaires
A band that certainly were in the right place, were the Revolutionaires. The four canny lads from the North East, have been at the top of the tree for around fifteen years, with their no nonsense house rocking blues sound.
Ed Stephenson in his blue suit, slinging the familiar Gretsch White Falcon, set about business, hitting it hard with the likes of ‘I’m Ready’. Incorporating the sax playing of officiando Gary Hoole, ‘Tequila’ is a beauty, as is the first rate version of ‘Miserlou’. Think of a Revs favourite of yours, and it was there, ‘Riot In Cell Block No9’, Ed’s foot stomping, harmonica soaked ‘Eddie Boy’s Jump’ the hottest version of ‘Shake Your Hips’ and Big Joe’s ‘Jump For Joy’. Always sharp, always enthusiastic, the tightest sound and the finest possible conclusion for the weekend, The Revolutionaires signed off with their stamp of excellence.
So ended the inaugural Hot Rock n Boogie event, and a fine weekender it was too. The music was varied in style and delivery, the performances polished and professional. The venue was spacious and airy, and the quality of sound filled it with clarity and without distortion. Yep, a joyous romp in Lincolnshire that will reconvene next May, over the first Bank Holiday, so we won’t all have to tear off home to get to work the next day.
Check it out folks
© Andrew Smith, June Smith, The Bettajive Review, May 2018
Ed Stephenson in his blue suit, slinging the familiar Gretsch White Falcon, set about business, hitting it hard with the likes of ‘I’m Ready’. Incorporating the sax playing of officiando Gary Hoole, ‘Tequila’ is a beauty, as is the first rate version of ‘Miserlou’. Think of a Revs favourite of yours, and it was there, ‘Riot In Cell Block No9’, Ed’s foot stomping, harmonica soaked ‘Eddie Boy’s Jump’ the hottest version of ‘Shake Your Hips’ and Big Joe’s ‘Jump For Joy’. Always sharp, always enthusiastic, the tightest sound and the finest possible conclusion for the weekend, The Revolutionaires signed off with their stamp of excellence.
So ended the inaugural Hot Rock n Boogie event, and a fine weekender it was too. The music was varied in style and delivery, the performances polished and professional. The venue was spacious and airy, and the quality of sound filled it with clarity and without distortion. Yep, a joyous romp in Lincolnshire that will reconvene next May, over the first Bank Holiday, so we won’t all have to tear off home to get to work the next day.
Check it out folks
© Andrew Smith, June Smith, The Bettajive Review, May 2018
shake chatter and cold
The Outsiders
The 16th Annual Shake Rattle and Roll Weekender
Review by Andrew Smith
Leaving Essex with temperatures in the high fifties, it was quite something to approach Lowestoft and watch the fog roll in and the mercury fall into single figures. And it continued to tumble throughout the event at Great Yarmouth’s Vauxhall Holiday Park, with regulars recalling the year, when famously, the fountain near the entrance gate froze.
Fortunately the ambience within the event was such that it didn’t matter what the thermometer said, as we readied for three days of top rockin’. Indeed for some, the fun had started the evening before, with the Kingcats and Phil Haley and the Comments firing the starting pistol.
With the bundle for tables settling, the Bradford Dude has a few minutes to set he pace, ready for the opening act of the night. The Outsiders, fronted by Joe Chapman, presented their well rehearsed and tight sound, to an already enthusiastic crowd, opening with the Elvis fave ‘Whenever You’re Ready’. The thing with these four guys, is that the show has plenty of light and shade, with ‘I Ain’t Giving Up Nothing’, followed by ‘Three Alley Cats’, and then the 60’s TV theme, ‘Secret Agent Man’.
Then there was a good workout for ‘Rio De Rosa’ and then another nod to Elvis, with the seldom heard ‘I’ll Take Love’, from the film ‘Easy Come, Easy Go’. The version of the song, delivered by lead singer Joe Chapman, was much more memorable than the film from which it came(!). ‘Big River’, Blue Jeans and a Boy’s Shirt’ top rockers, were tempered by ‘Walk On By’, and a cool version of ‘Sparkling Brown Eyes’. Hugely enjoyable show, and as the encore suggested ‘Rockabilly’s Back’.
Review by Andrew Smith
Leaving Essex with temperatures in the high fifties, it was quite something to approach Lowestoft and watch the fog roll in and the mercury fall into single figures. And it continued to tumble throughout the event at Great Yarmouth’s Vauxhall Holiday Park, with regulars recalling the year, when famously, the fountain near the entrance gate froze.
Fortunately the ambience within the event was such that it didn’t matter what the thermometer said, as we readied for three days of top rockin’. Indeed for some, the fun had started the evening before, with the Kingcats and Phil Haley and the Comments firing the starting pistol.
With the bundle for tables settling, the Bradford Dude has a few minutes to set he pace, ready for the opening act of the night. The Outsiders, fronted by Joe Chapman, presented their well rehearsed and tight sound, to an already enthusiastic crowd, opening with the Elvis fave ‘Whenever You’re Ready’. The thing with these four guys, is that the show has plenty of light and shade, with ‘I Ain’t Giving Up Nothing’, followed by ‘Three Alley Cats’, and then the 60’s TV theme, ‘Secret Agent Man’.
Then there was a good workout for ‘Rio De Rosa’ and then another nod to Elvis, with the seldom heard ‘I’ll Take Love’, from the film ‘Easy Come, Easy Go’. The version of the song, delivered by lead singer Joe Chapman, was much more memorable than the film from which it came(!). ‘Big River’, Blue Jeans and a Boy’s Shirt’ top rockers, were tempered by ‘Walk On By’, and a cool version of ‘Sparkling Brown Eyes’. Hugely enjoyable show, and as the encore suggested ‘Rockabilly’s Back’.
Rockin Em
DJ Big Col opened with some classic Rock n Roll tunes, and then a some lesser heard tunes to good effect, before the next band. From Northants, a trio who have been active for nigh on ten years were on next. Rockin’ Em, featuring Kev and Dion Marlow and Dan Butterworth. Straight ahead Rock ‘n’ Roll that filled the dance floor, with the likes of ‘Cradle of Love’ hitting the spot. ‘Oh Lonesome Me’, ‘Let’s Fall In Love’, ‘Crying Over You’, were all well delivered, topped off by the audience participating in ‘C’mon Everybody.
Si Cranstoun
Wildcat Pete’s set was a little truncated as the frantic change around, brought Friday’s headliner to the stage. Si Cranstoun, has been at the top of the tree for some years now, playing at the biggest festivals around the country. Since ‘Dynamo’ and a debut at the Rhythm Riot a fair while ago, it seems Si is the hot ticket wherever he played.
Now well established, he was back at Yarmouth for another popular show. He mixed up his own material, ‘1950’s Pin Up Girl’, ‘Lonesome Heart Bandit’, ‘Coupe DeVille’ and ‘Ella Hula Hula’, have now become staples of his shows, and immense favourites with his fans. ‘Dynamo’ took the lid off the place, ‘Reet Petite’ vied for attention, but if I was to pick two standout songs, it would be two covers. Roy Brown’s Black Diamond’ was a kicker, but for me, the encore of Sam Cooke’s ‘Twistin by the Pool’ was an apt crescendo.
And that was it for Friday. Memphis Lee and the Creepers were unable to make their slot and were held over for the next day. Instead we had some corking sounds from the decks from the Bradford Dude and Rockin Eddie. Dancefloor-tastic stuff fellas.
Now well established, he was back at Yarmouth for another popular show. He mixed up his own material, ‘1950’s Pin Up Girl’, ‘Lonesome Heart Bandit’, ‘Coupe DeVille’ and ‘Ella Hula Hula’, have now become staples of his shows, and immense favourites with his fans. ‘Dynamo’ took the lid off the place, ‘Reet Petite’ vied for attention, but if I was to pick two standout songs, it would be two covers. Roy Brown’s Black Diamond’ was a kicker, but for me, the encore of Sam Cooke’s ‘Twistin by the Pool’ was an apt crescendo.
And that was it for Friday. Memphis Lee and the Creepers were unable to make their slot and were held over for the next day. Instead we had some corking sounds from the decks from the Bradford Dude and Rockin Eddie. Dancefloor-tastic stuff fellas.
Shane and the Korrados
Sat session. Big Col started the Saturday afternoon session with a solid set, in readiness for the only band on in the afternoon, Shane and the Korrados, a four piece from Norfolk. Shane appears to have mainly dispensed with his rhythm guitar now, being the charismatic, high haired, collar up, front man. Despite two depping musicians in the band, they produced a solid set of covers. For 3pm, there was a goodly amount of people in, and with a set of heavily influenced Elvis numbers, topped off by a rendition of the anthemic Wildkatz ‘Pink and Black Cadillac’, they had loads to appreciate.
Sarah Jay
The announcement that the evening session would include another band, the DJ sets were reduced to a token gesture, while there was a flurry of activity in the half light on and back stage. So Sarah Jay and her Northside Boys’ set was reduced by fifteen minutes.
Since the last time we saw this band, they have come on strong. No two basses now, and clearly a lot has gone into the show. It takes a lot to be able to take on the play list this band did, measuring up against the likes of Marie Knight, Lillian Briggs, Etta James and Little Esther, and the styles of today’s great lady singers Laura B and Gizzelle.
So with Carol Fran’s Excello cut ‘Knock Knock’ raising the collective eyebrow, the set swung from the unusual cover to the well known, like Etta’s ‘That’s All’. Liked ‘Beer Bottle Boogie’ as in Laura B and the Gizzelle styled ‘Humdinger’ and ‘Baby Please Don’t Go’. Not sure ‘Shake Your Hips’ worked quite as well, but ‘Roll Out The Hole’ (Ruby Turner) and Lillian Briggs’ word soup ‘I Want You To Be My Baby’ stood up well.
Since the last time we saw this band, they have come on strong. No two basses now, and clearly a lot has gone into the show. It takes a lot to be able to take on the play list this band did, measuring up against the likes of Marie Knight, Lillian Briggs, Etta James and Little Esther, and the styles of today’s great lady singers Laura B and Gizzelle.
So with Carol Fran’s Excello cut ‘Knock Knock’ raising the collective eyebrow, the set swung from the unusual cover to the well known, like Etta’s ‘That’s All’. Liked ‘Beer Bottle Boogie’ as in Laura B and the Gizzelle styled ‘Humdinger’ and ‘Baby Please Don’t Go’. Not sure ‘Shake Your Hips’ worked quite as well, but ‘Roll Out The Hole’ (Ruby Turner) and Lillian Briggs’ word soup ‘I Want You To Be My Baby’ stood up well.
Memphis Lee and the Creepers
Someone should’ve shouted ‘Bundle’ (as we used to in the 70’s) as the band swapped places with Memphis Lee and the Creepers, up from Wales, an area already succumbing to the Beast From The East freezing snowy weather, becoming the Pest of the West.
Accomplished musicians, together with a confident front man Lee Bramwell, rocking out the like of ‘Red Hot Mama’ with slight lyric adjustments (ahem!). A good take on JD’s ‘Northside Gal’ from a young man who has influences in the Eddie and Elvis camp and jumping R&B. You’ll like the version of ‘Hadacol Boogie’ that was out on 45rpm EP , along with ‘Long Gone Daddy’, ‘Lovin’ Machine’ and ‘Break Up’.
It was the first time we’d seen this band, and judging by their extensive gig list for the remainder of 2018, it won’t be the last. Vocally strong and musically adept.
Accomplished musicians, together with a confident front man Lee Bramwell, rocking out the like of ‘Red Hot Mama’ with slight lyric adjustments (ahem!). A good take on JD’s ‘Northside Gal’ from a young man who has influences in the Eddie and Elvis camp and jumping R&B. You’ll like the version of ‘Hadacol Boogie’ that was out on 45rpm EP , along with ‘Long Gone Daddy’, ‘Lovin’ Machine’ and ‘Break Up’.
It was the first time we’d seen this band, and judging by their extensive gig list for the remainder of 2018, it won’t be the last. Vocally strong and musically adept.
John Lewis
Also up from Wales, the familiar force of nature that is John Lewis. Billed as ‘and his Trio’, this time it was just the three of them, sans piano. This performance was just masterful, and harked back some times to the older shows, and also incorporated the best of latter day material from ‘Sanity’. In fact, the audience got their chance at fame, being the Jets on ‘Sanity’, performing the ‘Dolally Dolally’ harmony backing vocals part. The rest of the set was a delight, ‘Chills and Fever’ with ‘Flat Top Cat’ the tribute to Mac Curtis, Gene Summers’ ‘Fancy Dan’ and Bo Diddley’s, erm, well ‘Bo Diddley.
The reworking of Hank Williams’ ‘Please Don’t Let me Love You’, is inspired, and now a proven dance floor favourite wherever you go, Yarmouth being no exception. Good to hear, clarifying my opening remark, a hark back to a few years ago, with the powerhouse instrumental ‘Where’s me ****in’ Snouts’, the only vocal being the title, delivered in multiple figure decibels. ‘If you like us, we are the John Lewis Trio, if you don’t we’re called Darrell Higham and the Enforcers’ he joked at the end of the show. So without doubt, they are the John Lewis Trio.
The reworking of Hank Williams’ ‘Please Don’t Let me Love You’, is inspired, and now a proven dance floor favourite wherever you go, Yarmouth being no exception. Good to hear, clarifying my opening remark, a hark back to a few years ago, with the powerhouse instrumental ‘Where’s me ****in’ Snouts’, the only vocal being the title, delivered in multiple figure decibels. ‘If you like us, we are the John Lewis Trio, if you don’t we’re called Darrell Higham and the Enforcers’ he joked at the end of the show. So without doubt, they are the John Lewis Trio.
Bill Haley Jnr
The reviews of Bill Haley Jnr from the Rockers Reunion, were spectacular in their praise for a fantastic show, so I for one, not having witnessed it, was seriously looking forward to this outing to see for myself. And with the billing of Phil Haley and the Comments as backing, the promise was of a top drawer show.
Bill himself, looked really dapper in his pink jacket, as he took to the stage to considerable acclaim. The set unsurprisingly, was a jaunt through the Bill Haley and the Comets story and discography, with minimum narration.
Think of your favourite, and it was most likely there, do I need to list them? Well there’s really no need, plus you had the on stage visuals from the Comments. Vocally, Bill’s on point, and he puts on a good show. I know this won’t be popular with many, but I’ve seen the Comments a lot better than this show, and I’m not sure this show reached the mercurial heights of the Reunion one.
Bill himself, looked really dapper in his pink jacket, as he took to the stage to considerable acclaim. The set unsurprisingly, was a jaunt through the Bill Haley and the Comets story and discography, with minimum narration.
Think of your favourite, and it was most likely there, do I need to list them? Well there’s really no need, plus you had the on stage visuals from the Comments. Vocally, Bill’s on point, and he puts on a good show. I know this won’t be popular with many, but I’ve seen the Comments a lot better than this show, and I’m not sure this show reached the mercurial heights of the Reunion one.
Darrell Higham
Concluding a breathless Saturday night, were the ubiquitous Darrell Higham and the Enforcers, a tight rocking trio with a gutsy Gretsch driven sound. This set was pacey and punchy, from the get go sound of ‘But She’s Not You’ through ‘Rockin’ Daddy’ and ‘Jumpin’ With Gene’ to the earthy throb of ‘Pocketful of Rainbows’ and the British sound of Cliff’s ‘Choppin’ and Changin’.
The audience that stuck around, were heavily in to the ballsy beat of ‘High Class Baby’, the rendition of Restless’ ‘Ice Cold’ and the hopped up take on Bruce Springsteen’s ‘I’m On Fire’.
The audience that stuck around, were heavily in to the ballsy beat of ‘High Class Baby’, the rendition of Restless’ ‘Ice Cold’ and the hopped up take on Bruce Springsteen’s ‘I’m On Fire’.
Red Hot Rockets
Sun’s up (no it’s not!) Sunday, and no relenting in the 50+mph winds that pounded the east with a below -10 windchill and the flags on the buildings flying straight out. Such were the reports of heavy snow on the opposite side of the country, there were concerns that some acts might not make it. No problem though, with the afternoon show, the Red Hot Rockets.
These three lads, Brandon, Luke and Curtis, have that joi de vivre that comes with youthful exuberance. I don’t usually make a big deal about performer’s ages, but the combined ages of this group, is around my age(!), and individually, similar to the Jets when they first started.
They opened with a powerhouse instrumental, and regular readers will know also the best instro in the world ever ever, ‘Rampage’. They leaned on Gene for a couple of numbers, ‘She She Sheila’ and ‘Lotta Lovin’ that sandwiched ‘My One Desire’ (see the Bopflix production).
The variety within the set list was to their credit, with the British sound of ‘Brand New Cadillac’, the stroll beat of ‘Suzy Q’, the Capocci beat in ‘Baby Sue’ and the Eddie Cochran guitar resonance of ‘Scratchin’. The dancers truly appreciated ‘One Heart to Spare’ and ‘Rockabilly Man’, and their choice of ‘Runaway Boys’ for the Stray Cats cover, was a welcome change from the norm. ‘Jitterbop Baby’ made the encore of a great show, look out for the three lads on the circuit folks.
Good stuff from DJ Mad Andy Munday to finish off the afternoon
These three lads, Brandon, Luke and Curtis, have that joi de vivre that comes with youthful exuberance. I don’t usually make a big deal about performer’s ages, but the combined ages of this group, is around my age(!), and individually, similar to the Jets when they first started.
They opened with a powerhouse instrumental, and regular readers will know also the best instro in the world ever ever, ‘Rampage’. They leaned on Gene for a couple of numbers, ‘She She Sheila’ and ‘Lotta Lovin’ that sandwiched ‘My One Desire’ (see the Bopflix production).
The variety within the set list was to their credit, with the British sound of ‘Brand New Cadillac’, the stroll beat of ‘Suzy Q’, the Capocci beat in ‘Baby Sue’ and the Eddie Cochran guitar resonance of ‘Scratchin’. The dancers truly appreciated ‘One Heart to Spare’ and ‘Rockabilly Man’, and their choice of ‘Runaway Boys’ for the Stray Cats cover, was a welcome change from the norm. ‘Jitterbop Baby’ made the encore of a great show, look out for the three lads on the circuit folks.
Good stuff from DJ Mad Andy Munday to finish off the afternoon
The Jets
The evening began with the ever popular Jets, and the familiar thumping beat of ‘You Just Don’t Know How To Treat Your Man’ which was supposed to be a chant from the floor, described as ‘feeble’ by bassist Bob. Herschel Almond’s rock-along, ‘Let’s Get it On’ is always a favourite of mine, as is ‘Millionaire Hobo’ which brings Tony to the front with just a single snare drum, and baritone vocals.
Ray took the vocals on ‘Good Morning Little Schoolgirl’ after a bit of ‘titter ye not’ introduction, regardless of the title, this is a track that rocks. Naturally, ‘Yes Tonight Josephine’ had to be included, massively popular with the crowd, given the age demographic, most of us recall it first time around. Along with ‘Stare Stare Stare’ ‘Heartbreaker’, the promise of the new CD which will contain ‘Little Doll’ and the ever popular finale of ‘Fine Fine Fine’, naturally, it goes without saying this was an excellent set.
Ray took the vocals on ‘Good Morning Little Schoolgirl’ after a bit of ‘titter ye not’ introduction, regardless of the title, this is a track that rocks. Naturally, ‘Yes Tonight Josephine’ had to be included, massively popular with the crowd, given the age demographic, most of us recall it first time around. Along with ‘Stare Stare Stare’ ‘Heartbreaker’, the promise of the new CD which will contain ‘Little Doll’ and the ever popular finale of ‘Fine Fine Fine’, naturally, it goes without saying this was an excellent set.
Downtown Daddyo's
The award for sheer endeavour must go to the Downtown Daddyo’s, all travelling through the worst weather, from Bristol, Liverpool and Manchester, to finally arrive with minutes to spare. Looking the best in blue, lead by vocalist Richie Lorriman, with his trusty white bass, the Daddyo’s turned in a beaut of a show for the crowd who were into them from the start.
This is another band that mix up the flavours, from the well known, oft heard ‘Flip Flop and Fly’, ‘Seven Nights To Rock’ and ‘Lover Please’, to a surprise inclusion of ‘I Don’t Care’. A stick on dance floor stroller, Charlie Rich’s ‘Midnight Blue’, was well presented, as was the sing-a-long of ‘Volare’. ‘Shake Ya Mama’, ‘The Look In Your Eyes’ and ‘Rooster Rock’, all in the same set as above, yep that’s variety.
This is another band that mix up the flavours, from the well known, oft heard ‘Flip Flop and Fly’, ‘Seven Nights To Rock’ and ‘Lover Please’, to a surprise inclusion of ‘I Don’t Care’. A stick on dance floor stroller, Charlie Rich’s ‘Midnight Blue’, was well presented, as was the sing-a-long of ‘Volare’. ‘Shake Ya Mama’, ‘The Look In Your Eyes’ and ‘Rooster Rock’, all in the same set as above, yep that’s variety.
The Eddie Cochran Show
There was an atmosphere of anticipation for the Eddie Cochran show, featuring three top acts, Darrell Higham and the Enforcers, with the Jets and John Lewis guesting on vocals. John was first on as he and Darrell took on the Cochran Brothers’ ‘I’m Ready’, ‘Tired and Sleepy’, ‘Downing All My Sorrows’ and ‘Slow Down’. They were the perfect foil for each other, with John on acoustic guitar, for a first class sound.
The Jets looked sharp in their grey and black jackets, as they harmonised on ‘Ooos and Aahs’ as the set progressed through ‘Completely Sweet’, ‘Watch Your Mouth’, ‘Am I Blue’, ‘Never’ and ‘Teenage Cutie’. I don’t recall many acts taking on ‘Hallelujah I Love Her So’ with such authority, or for that matter, ‘Three Steps to Heaven’. The ever popular instrumental ‘Scratchin’ got it’s usual run out, as did ‘Somethin’ Else’ and ‘Nervous Breakdown’. Top Eddie-fest.
The Jets looked sharp in their grey and black jackets, as they harmonised on ‘Ooos and Aahs’ as the set progressed through ‘Completely Sweet’, ‘Watch Your Mouth’, ‘Am I Blue’, ‘Never’ and ‘Teenage Cutie’. I don’t recall many acts taking on ‘Hallelujah I Love Her So’ with such authority, or for that matter, ‘Three Steps to Heaven’. The ever popular instrumental ‘Scratchin’ got it’s usual run out, as did ‘Somethin’ Else’ and ‘Nervous Breakdown’. Top Eddie-fest.
Porky's Hot Rockin
Over the years of Shake Rattle and Roll, Porky’s Hot Rockin’ have played just about every time slot. This year, it was their task to close the weekender. Now, weekenders can either go out with a bang, or a fizzle. Bang it was then! The sound was big, the vocals direct, and the show was a treat for late night rockers. Dave ‘Porky’ Coates was on top form as he ripped through a largely ad-libbed play list, selecting songs from a massive set.
Elvis’ ‘I Need Your Love Tonight’ started us off, followed by the band’s own take on ‘Summertime Blues’ benefiting from Porky’s slightly gravely vocal delivery. They kept the pace with Gene’s ‘Well I Knocked Bim Bam’, followed seamlessly by ‘Rockabilly Man’, ‘True Love’ and ‘Driving Wheel’. It wasn’t all relentless tear-ups, as a super version of Billy Fury’s ‘Wondrous Place’ slowed the pace.
Strollers were out for ‘Honky Tonk Man’ and ‘Modern Don Juan’, and rockers like ‘Jitterbop Baby’, ‘How Low Do You Feel’ and ‘Rockabilly Boogie’, were the perfect end to a raucous set.
This event goes from strength to strength. The accommodation is being updated, certainly ours was pristine, and the site looks well maintained. The music was varied and included the classic, with the newest sounds, the bands and DJs were on good form.
What’s not to like?
© Andrew Smith, June Smith, The Bettajive Review, March 2018
Elvis’ ‘I Need Your Love Tonight’ started us off, followed by the band’s own take on ‘Summertime Blues’ benefiting from Porky’s slightly gravely vocal delivery. They kept the pace with Gene’s ‘Well I Knocked Bim Bam’, followed seamlessly by ‘Rockabilly Man’, ‘True Love’ and ‘Driving Wheel’. It wasn’t all relentless tear-ups, as a super version of Billy Fury’s ‘Wondrous Place’ slowed the pace.
Strollers were out for ‘Honky Tonk Man’ and ‘Modern Don Juan’, and rockers like ‘Jitterbop Baby’, ‘How Low Do You Feel’ and ‘Rockabilly Boogie’, were the perfect end to a raucous set.
This event goes from strength to strength. The accommodation is being updated, certainly ours was pristine, and the site looks well maintained. The music was varied and included the classic, with the newest sounds, the bands and DJs were on good form.
What’s not to like?
© Andrew Smith, June Smith, The Bettajive Review, March 2018
