The bettajive review #10
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Above we have photos of two of our three interviewees this month, Dawna Zahn of the Hi Jivers and Al Hendrix. Check them out below
As Coronavirus is still within our communities, we naturally have not been to any live events. We are grateful for all of the people uploading podcasts, live shows and DJ shows. The events we advertise here, are at the moment, still going ahead. Please check with the organisers, we do not accept responsibility for changes in event details in the future. We also draw your attention to the current guidelines regarding Coronavirus.
As Coronavirus is still within our communities, we naturally have not been to any live events. We are grateful for all of the people uploading podcasts, live shows and DJ shows. The events we advertise here, are at the moment, still going ahead. Please check with the organisers, we do not accept responsibility for changes in event details in the future. We also draw your attention to the current guidelines regarding Coronavirus.
Got to have the halls to do it. Venues readers, where we will eventually go back to week on week for our rockin’ gig fix. The place to see a band without being squished up one corner by the football crowd in pubs, making daft Elvis noises, the place where you can go and have a proper dance. And that’s often the Village Hall or the Social Club function room. One of the favourite questions we get asked when we enter a Social club main door, is ‘Are you here for the Rock n Roll?’ No I’m the Bishop of Brixton on my way to the garden party at the Palace, just thought we’d stop off here for a couple of schooners before we get there…nit wit.
There are two basic kinds of village hall, the pristine one that has been rebuilt on the site of an old one, courtesy of funding from the Lottery or some such donation. The hall is pristine, it’s fixtures and fittings are 21st century, there’s acoustic boards to enhance the audible experience. The plaque fixed to the wall shows it was opened by special guests, someone who played bass guitar with Chaka Demus and Pliers, alongside the Lady Mayoress, huge scissors, a ceremonial ribbon cut, and picture in the paper with kids in front with their thumbs up (even though the little monsters do their darn-dest to wreck the place).
The stage has a proper changing room off left, with more than one light bulb that actually works, room for the DJ and enough plug sockets to power Blackpool illuminations. The lighting is like daylight, the ambience although a little sterile, remains immaculate, and the bar with it’s perfectly military style optics and pumps has not so much of a finger print to blemish it. The staff are young, hip and trendy, wear matching waistcoats and white shirts, the guys flip bottles about and pour measures from a great height, spilling not a drop, whilst flashing a smile with a sparkling teeth and perfectly coiffured shiny gelled hair. The ladies giggle at their flattering looks while the guys give it ‘Mate. Cut the crap and pour the pint will ya’.
There’s air conditioning units, ceiling fans actually rotate, and generate some coolness onto a dancefloor laid with dancers in mind, it being the home of the local Salsa club among others. The foyer is adorned with photos in soft focus of the yoga class, the sea cadets and the gardening club, plus a black and white picture of the old hall and patrons, with everyone wearing hats, sporting handlebar moustaches and smoking cigarettes (and that was just the women!). It is indeed the finest facility.
The alternative type of hall, is the proud pre/post war one that has stood valiantly against storm and tempest over the years. The double doors (shoulder charge) open into the foyer with it’s chequered tiled floor, leaning tower of orange and grey, stacking chairs, and ‘cloakrooms’ off left and right. They’ve been clearly benefiting from clearance-sale paint for the décor, looking like it was applied by a lawn sprinkler.
The flyer table sits within. Dozens of events to catch the eye, and dozens of flyers to be physically caught, when the open doors cause a breeze that displaces them. There’s a moderate odour of mildew, mixed with stale varnish and Jeyes Fluid (other remarkably versatile outdoor cleaners, are available), as another set of doors open to reveal the hall in all it’s wonderment. The ceiling flickers in the half-light courtesy of a grapefruit sized disco ball, with prismatic colours sliding across the insulation board and the badminton court marked out on the floor. Lighting for the stage consists of a few ceiling lamps that generate as much coloured luminosity as a kid’s Pifco torch with a Quality Street wrapper over it*. The remainder of the stacking chairs are arranged around tables of similar ilk, many are already occupied by people who have spread their garments out to reserve places for later comers, and spread themselves out like Caligula, to ensure interlopers are discouraged. It makes you wonder if at our age you should still be ‘bagsy-ing’ seats 😊
The DJ is situated in a dingy far corner, stage left, right in the thoroughfare for the toilets. He ducks and dives to save his prized recordings from being trampled, nicked, spilt on, flobbed on and fingered by awkward revellers. The bar is a hotch potch of fairy lights, bottled beers and three types of spirits, and is manned by one incredibly efficient young lady called Terri, and one galoot of the Parish, in a polo shirt, glasses on the end of his nose with no idea of pricing, and works at the speed of an action replay. He pip-pips the till before announcing “Pint of lime and soda sir, three pounds fifty”. Yeah right, you can check that again. “Terri?” he enquires for the umpteenth time, “how much….eh….eh…75p? OK, 75p sir”. Hand over a pound coin. ‘pip pip pip’ on the till followed by “Terri?”……
Given the age of the hall, the floor has a great bounce to it, whether it’s supposed to or not is a different matter(!) Thin floor joists or riddled with woodworm maybe. Get a full floor and it’s like the approaching T. Rex in Jurassic Park, or the soldier ants on a branch in Tom and Jerry. You know what though readers, there’s actually something about these old places that give them the edge over the sparkly new ones. Even with the smell, the draught, the rock hard chairs, and the old guy bundling over a tower of glasses when he’s collecting them, holding yours up with an inch and a half of drink left in it and scrutinising it like it’s a urine sample uttering that famous phrase ‘Is this dead?’. And long may that continue!
“Terri? ….”.
There are two basic kinds of village hall, the pristine one that has been rebuilt on the site of an old one, courtesy of funding from the Lottery or some such donation. The hall is pristine, it’s fixtures and fittings are 21st century, there’s acoustic boards to enhance the audible experience. The plaque fixed to the wall shows it was opened by special guests, someone who played bass guitar with Chaka Demus and Pliers, alongside the Lady Mayoress, huge scissors, a ceremonial ribbon cut, and picture in the paper with kids in front with their thumbs up (even though the little monsters do their darn-dest to wreck the place).
The stage has a proper changing room off left, with more than one light bulb that actually works, room for the DJ and enough plug sockets to power Blackpool illuminations. The lighting is like daylight, the ambience although a little sterile, remains immaculate, and the bar with it’s perfectly military style optics and pumps has not so much of a finger print to blemish it. The staff are young, hip and trendy, wear matching waistcoats and white shirts, the guys flip bottles about and pour measures from a great height, spilling not a drop, whilst flashing a smile with a sparkling teeth and perfectly coiffured shiny gelled hair. The ladies giggle at their flattering looks while the guys give it ‘Mate. Cut the crap and pour the pint will ya’.
There’s air conditioning units, ceiling fans actually rotate, and generate some coolness onto a dancefloor laid with dancers in mind, it being the home of the local Salsa club among others. The foyer is adorned with photos in soft focus of the yoga class, the sea cadets and the gardening club, plus a black and white picture of the old hall and patrons, with everyone wearing hats, sporting handlebar moustaches and smoking cigarettes (and that was just the women!). It is indeed the finest facility.
The alternative type of hall, is the proud pre/post war one that has stood valiantly against storm and tempest over the years. The double doors (shoulder charge) open into the foyer with it’s chequered tiled floor, leaning tower of orange and grey, stacking chairs, and ‘cloakrooms’ off left and right. They’ve been clearly benefiting from clearance-sale paint for the décor, looking like it was applied by a lawn sprinkler.
The flyer table sits within. Dozens of events to catch the eye, and dozens of flyers to be physically caught, when the open doors cause a breeze that displaces them. There’s a moderate odour of mildew, mixed with stale varnish and Jeyes Fluid (other remarkably versatile outdoor cleaners, are available), as another set of doors open to reveal the hall in all it’s wonderment. The ceiling flickers in the half-light courtesy of a grapefruit sized disco ball, with prismatic colours sliding across the insulation board and the badminton court marked out on the floor. Lighting for the stage consists of a few ceiling lamps that generate as much coloured luminosity as a kid’s Pifco torch with a Quality Street wrapper over it*. The remainder of the stacking chairs are arranged around tables of similar ilk, many are already occupied by people who have spread their garments out to reserve places for later comers, and spread themselves out like Caligula, to ensure interlopers are discouraged. It makes you wonder if at our age you should still be ‘bagsy-ing’ seats 😊
The DJ is situated in a dingy far corner, stage left, right in the thoroughfare for the toilets. He ducks and dives to save his prized recordings from being trampled, nicked, spilt on, flobbed on and fingered by awkward revellers. The bar is a hotch potch of fairy lights, bottled beers and three types of spirits, and is manned by one incredibly efficient young lady called Terri, and one galoot of the Parish, in a polo shirt, glasses on the end of his nose with no idea of pricing, and works at the speed of an action replay. He pip-pips the till before announcing “Pint of lime and soda sir, three pounds fifty”. Yeah right, you can check that again. “Terri?” he enquires for the umpteenth time, “how much….eh….eh…75p? OK, 75p sir”. Hand over a pound coin. ‘pip pip pip’ on the till followed by “Terri?”……
Given the age of the hall, the floor has a great bounce to it, whether it’s supposed to or not is a different matter(!) Thin floor joists or riddled with woodworm maybe. Get a full floor and it’s like the approaching T. Rex in Jurassic Park, or the soldier ants on a branch in Tom and Jerry. You know what though readers, there’s actually something about these old places that give them the edge over the sparkly new ones. Even with the smell, the draught, the rock hard chairs, and the old guy bundling over a tower of glasses when he’s collecting them, holding yours up with an inch and a half of drink left in it and scrutinising it like it’s a urine sample uttering that famous phrase ‘Is this dead?’. And long may that continue!
“Terri? ….”.
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Dot….dot. Best tracks in the world ever ever to skin the sausage for this month are The Pearls ‘Zippity Zippity Zoom’ , Dane Stinit’s ‘Don’t Knock What You Don’t Understand’ and ‘Brush Those Tears From Your Eyes’ by Donna Hightower……… I write this toward the end of the month of June, with sixteen weeks of hair growth looking like Rapunzel and ‘furlough fuzz’, with the promise of it finally going early July. How surprising was it to see all those Premiership players running out onto the pitch with sharp cropped hair dos. Either they all have hairdressers in their household bubbles, or to diversify back to 1992 and quote the Shamen, ‘Naughty, naughty, very naughty’…….We’ve seen a number of couples undertaking hairdressing based on online tutorials and then uploading the experiences onto social media. Hmmm, I wonder at the crazed and maniacal looks on some of the ladies faces as they approach their other half with a pair of scissors and clippers…….. What a treat it was to catch a couple of sets from Joey Simeone of the Bellfuries. Just him and his guitar, and a bunch of ad libbed songs, covers as well as Bellfuries numbers. An immense talent we hope to catch next year at the Rockabilly Rave……….*How many of you of a certain vintage, used to hold red and violet Quality Street wrappers over your eyes to make out your black and white telly, was colour. Kids, you don’t know our struggle of our youth………
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Oi DJ, play some stuff! My goodness there has been some corking DJ sets on the internet. We’re bound to have missed someone out, so we will ‘pre-pologise’ in anticipation of omitting anyone. So here’s the roll call of dispatch mentions.
Saturday nights are chocca with quality and we dip in and out of various shows. One constant is ‘Thee’ Vanessa Holmes show, which runs from 7pm until 1am-ish, with emphasis on the ‘ish’. Other half Dave ‘Flattop’ Phillips spins the tunes, and most recently, brother Mark ‘Flattop’ Phillips joined the fray. This was the reunion we’d been waiting for at the Rockabilly Rave, so we had to celebrate that from the sofa. Cracking sets, despite being cut off multiple times by the internet host. I wonder if ‘Back back back’ will be the phrase we all shout at each other when this is all over
Meanwhile over in Norfolk, Rockin’ Roland, themed a number of shows, the British sound, a Hillbilly night and various Starfighter favourites in between. Down in Wales, Simon Flintstone, has adopted a ‘pop up’ type of show, quick notifications that he’s going live, and away we go. Similarly, Gary Denton (Gary’s Red Hot and Blue Record Hop) plays at the more unfashionable times mid-mornings, and Cat Talk Lee Russell has made Thursday afternoons worth marking on the calendar. All three play a top drawer mix of rockin tunes.
Saturday afternoon is a regular date with Jay Cee, a cool guy from France with a penchant for classic Rhythm and Blues, and always manages to dig out a gem from the vaults that really makes you sit and listen. That includes some of the all-time greats like Joe Turner and Wynonie Harris. Just when you think you’ve heard everything from those acts, before. He’s followed by Voodoo Doll Claire Austin, mixing up ‘today’ artists with those of yesteryear, with the help of Django (cat).
We need to mention Nigel Babb ‘DJ Domino’, who put together a DJ Lockdown Jamboree, with this stellar line up, Fifties Tash, Cat Talk Lee, Dave Mumbles, Steve Stack o Wax, Mr Jinx, and Bill Guntrip. What a barn burner that was, over several hours.
Who else? David ‘Mailman’ Willis, Andy AV8 Garner, Steph Rocker, Stewart Campbell, Adrian ‘Jump Back Boogie’ Waters, Bradford Dude, John Macleod, Robin Summerfield, Steve and Julie Pickard, Andy Munday and Mark’s Kickin’ the Boogie. Think that was everyone we saw over the month, all ace.
However, I can’t tell you how many half-faces we have seen, as DJs approach the camera to read comment. Can anyone hear us shouting ‘turn it up’ or ‘your glasses are on wonky’ 😊 …
Saturday nights are chocca with quality and we dip in and out of various shows. One constant is ‘Thee’ Vanessa Holmes show, which runs from 7pm until 1am-ish, with emphasis on the ‘ish’. Other half Dave ‘Flattop’ Phillips spins the tunes, and most recently, brother Mark ‘Flattop’ Phillips joined the fray. This was the reunion we’d been waiting for at the Rockabilly Rave, so we had to celebrate that from the sofa. Cracking sets, despite being cut off multiple times by the internet host. I wonder if ‘Back back back’ will be the phrase we all shout at each other when this is all over
Meanwhile over in Norfolk, Rockin’ Roland, themed a number of shows, the British sound, a Hillbilly night and various Starfighter favourites in between. Down in Wales, Simon Flintstone, has adopted a ‘pop up’ type of show, quick notifications that he’s going live, and away we go. Similarly, Gary Denton (Gary’s Red Hot and Blue Record Hop) plays at the more unfashionable times mid-mornings, and Cat Talk Lee Russell has made Thursday afternoons worth marking on the calendar. All three play a top drawer mix of rockin tunes.
Saturday afternoon is a regular date with Jay Cee, a cool guy from France with a penchant for classic Rhythm and Blues, and always manages to dig out a gem from the vaults that really makes you sit and listen. That includes some of the all-time greats like Joe Turner and Wynonie Harris. Just when you think you’ve heard everything from those acts, before. He’s followed by Voodoo Doll Claire Austin, mixing up ‘today’ artists with those of yesteryear, with the help of Django (cat).
We need to mention Nigel Babb ‘DJ Domino’, who put together a DJ Lockdown Jamboree, with this stellar line up, Fifties Tash, Cat Talk Lee, Dave Mumbles, Steve Stack o Wax, Mr Jinx, and Bill Guntrip. What a barn burner that was, over several hours.
Who else? David ‘Mailman’ Willis, Andy AV8 Garner, Steph Rocker, Stewart Campbell, Adrian ‘Jump Back Boogie’ Waters, Bradford Dude, John Macleod, Robin Summerfield, Steve and Julie Pickard, Andy Munday and Mark’s Kickin’ the Boogie. Think that was everyone we saw over the month, all ace.
However, I can’t tell you how many half-faces we have seen, as DJs approach the camera to read comment. Can anyone hear us shouting ‘turn it up’ or ‘your glasses are on wonky’ 😊 …
Hemsby. Early May blues and a few weeks into the Lockdown, we got an afternoon and evening’s worth of Hemsby rockin from Bill Guntrip and a host of turns. DJs Bill, Jimmy, and George Guntrip, Dave Mumbles, Little Carl and Tojo played a fine mix of tunes in between the live acts. We rolled out the dancefloor at home and joined in as we would have, if we’d been in Norfolk. So we had the likes of Tojo on the telly looking out on us taking the floor in the front room.
They were the ubiquitous John Lewis, with Bob Cotton from the Jets and Anthony Smith of Relentless. Anthony Smith, plugged in his Gretsch White Falcon and took the whole kaboodle outside into the back yard from some electric Rockabilly. ‘If I Had Me a Woman’, ‘Folsom Prison Blues’, ‘Red Cadillac and a Black Moustache’, ‘Marie’s the Name’ and rounding off with ‘I’m On Fire’ were all given a powerful rendition.
John Lewis who has been a feature of Sunday nights all through the Lockdown, played another consummate set. Here’s an artist who can take a guitar and make it sound like there are two playing at the same time, along with foot stomping percussion, like with the opening rocked up version of his own ‘It Hurts’. Some beauties followed like Leadbelly’s ‘Midnight Special’ (well that styled version for sure!), ‘Long Tall Sally’ in tribute to Little Richard, a kicking version of Hank Williams’ ‘Lovesick Blues’ and ‘Chills and Fever’. Smashing stuff from the parlour in Penarth.
Bob Cotton sat on his sofa with an acoustic guitar, took on Sam Cooke’s ‘Don’t Know Much’ to open his set, with a hugely impressive take on Eddie’s ‘Three Steps to Heaven’ following before he adopted the more familiar position of playing the upright bass. That was a stripped down version of ‘Lonesome Tears in my Eyes’, which sounded pretty darn good as did the final slice of classic Carl Perkins ‘Honey Don’t’
Massive appreciation from the Facebook crowd for Bill Guntrip persevering and putting on a smashing show. Below are the next two scheduled Hemsby events, click on the flyers for details, and to purchase some of their themed merchandise
They were the ubiquitous John Lewis, with Bob Cotton from the Jets and Anthony Smith of Relentless. Anthony Smith, plugged in his Gretsch White Falcon and took the whole kaboodle outside into the back yard from some electric Rockabilly. ‘If I Had Me a Woman’, ‘Folsom Prison Blues’, ‘Red Cadillac and a Black Moustache’, ‘Marie’s the Name’ and rounding off with ‘I’m On Fire’ were all given a powerful rendition.
John Lewis who has been a feature of Sunday nights all through the Lockdown, played another consummate set. Here’s an artist who can take a guitar and make it sound like there are two playing at the same time, along with foot stomping percussion, like with the opening rocked up version of his own ‘It Hurts’. Some beauties followed like Leadbelly’s ‘Midnight Special’ (well that styled version for sure!), ‘Long Tall Sally’ in tribute to Little Richard, a kicking version of Hank Williams’ ‘Lovesick Blues’ and ‘Chills and Fever’. Smashing stuff from the parlour in Penarth.
Bob Cotton sat on his sofa with an acoustic guitar, took on Sam Cooke’s ‘Don’t Know Much’ to open his set, with a hugely impressive take on Eddie’s ‘Three Steps to Heaven’ following before he adopted the more familiar position of playing the upright bass. That was a stripped down version of ‘Lonesome Tears in my Eyes’, which sounded pretty darn good as did the final slice of classic Carl Perkins ‘Honey Don’t’
Massive appreciation from the Facebook crowd for Bill Guntrip persevering and putting on a smashing show. Below are the next two scheduled Hemsby events, click on the flyers for details, and to purchase some of their themed merchandise
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Rockin Injection Disinfection Party 4. Tuesday nights are normally school nights and aren’t necessarily the evening that you’d consider a go-to for your dose of Rockin’.
Well thanks to Danny Brown, it’s a day with a circle round it to make sure you’re in place for some quality entertainment. The 4th we’ve picked out for review this month (sic) as this was a particular favourite of ours.
Well thanks to Danny Brown, it’s a day with a circle round it to make sure you’re in place for some quality entertainment. The 4th we’ve picked out for review this month (sic) as this was a particular favourite of ours.
Danny mixes up a selection of DJs, Bopflix videos and live acts. Opening up this week from Italy were Rockin Bonnie (Sabrina) and Massimo Zampini (Max). The pic on the left is of them on stage at Atomic, as we couldn't get a decent screenshot from the night!
Just an acoustic and electric guitar and a treasure chest of country and rockabilly tunes, delivered in a joyous vocal style. George Jones’ ‘Tall Tall Trees’ opened the set with a super cool duet of Johnny Horton’s ‘I’m Ready If You’re Willing’ following. ‘Gonna Romp and Stomp Tonight’ fair rocked along and Sabrina’s take on Ernest Tubb’s ‘I’ll Get Along Somehow’ is touted to appear on a new Rockin’ Bonnie album. Dead chuffed to have them dedicate ‘Remember Me I’m The One Who Loves You’ to us as well. ‘Blues Come Around’, yep, we’ll have some of that thank you Loretta Lynn’s ‘You Ain’t Woman Enough To Take My Man’, an ace tune, and the finale of ‘Don’t Worry’ summed up the mood perfectly.
Next up, Willy and Lisa Briggs and a multitude of instruments and a mix of oddballery like ‘Sally’s Got a Wooden Leg’ driven along by Lisa on the piano accordion, and ‘Takeaway Alley’ a recounting of many a street in a town near you! The Delmore Brothers’ ‘Freight Train Boogie’ got the Briggs treatment. A bit of Rockabilly with Al Ferrier’s ‘My Baby is Done Gone’ before a logistical shift across the room to undertake a huge challenge. ‘Mama Don’t Allow’ is a song that they (as a band) like to end on. So guitar, squeezebox, harmonica, steel guitar, bass, washboard, kazoo and piano, count ‘em all, and don’t forget the special guest (metronome I think). Excellent
Rob Heron was last up playing a solo set, with just an acoustic guitar. Liking the lyrics to the song about ‘Reincarnation’ followed by a perky rocker ‘Tootsie’, and an original tune ‘Lockdown Yodel Number 1’ describing the monotony of lockdown some days. ‘Holy Moly I’m in Love Again’ from the album ‘Life Is a Drag’ got an outing. There was a tribute to his favourite cheap wine ‘One Bottle of Beaujolais’ and he finished with ‘Lonely Boy in the Dole Queue’ another jolly romp.
Kudos to Danny Brown for keeping this event going, makes Tuesday’s worthwhile
Just an acoustic and electric guitar and a treasure chest of country and rockabilly tunes, delivered in a joyous vocal style. George Jones’ ‘Tall Tall Trees’ opened the set with a super cool duet of Johnny Horton’s ‘I’m Ready If You’re Willing’ following. ‘Gonna Romp and Stomp Tonight’ fair rocked along and Sabrina’s take on Ernest Tubb’s ‘I’ll Get Along Somehow’ is touted to appear on a new Rockin’ Bonnie album. Dead chuffed to have them dedicate ‘Remember Me I’m The One Who Loves You’ to us as well. ‘Blues Come Around’, yep, we’ll have some of that thank you Loretta Lynn’s ‘You Ain’t Woman Enough To Take My Man’, an ace tune, and the finale of ‘Don’t Worry’ summed up the mood perfectly.
Next up, Willy and Lisa Briggs and a multitude of instruments and a mix of oddballery like ‘Sally’s Got a Wooden Leg’ driven along by Lisa on the piano accordion, and ‘Takeaway Alley’ a recounting of many a street in a town near you! The Delmore Brothers’ ‘Freight Train Boogie’ got the Briggs treatment. A bit of Rockabilly with Al Ferrier’s ‘My Baby is Done Gone’ before a logistical shift across the room to undertake a huge challenge. ‘Mama Don’t Allow’ is a song that they (as a band) like to end on. So guitar, squeezebox, harmonica, steel guitar, bass, washboard, kazoo and piano, count ‘em all, and don’t forget the special guest (metronome I think). Excellent
Rob Heron was last up playing a solo set, with just an acoustic guitar. Liking the lyrics to the song about ‘Reincarnation’ followed by a perky rocker ‘Tootsie’, and an original tune ‘Lockdown Yodel Number 1’ describing the monotony of lockdown some days. ‘Holy Moly I’m in Love Again’ from the album ‘Life Is a Drag’ got an outing. There was a tribute to his favourite cheap wine ‘One Bottle of Beaujolais’ and he finished with ‘Lonely Boy in the Dole Queue’ another jolly romp.
Kudos to Danny Brown for keeping this event going, makes Tuesday’s worthwhile
Baker eh? Scotty Baker, I’ll remember that name (said in a C. Montgomery Burns voice). Yes readers, it’s Wednesday evening our (UK) time, but silly-o’clock in Australia, Thursday morning. Scotty is in his kitchen, sat on a chair and singing into a cupboard pretty much. They are Elvis sets, and songs from the films from ’60 onward. Why ’60 onward? Well he relies on backing tracks and apparently the backing tracks from the 50’s ones are a bit shabby.
So usually around a hundred from around the world, log in to see and hear some cracking tracks performed really well vocally, fuelled by a fine red wine and a rapidly cooling cup of coffee. It would be difficult to pick out any from the vast catalogue (Elvis mastered over 240 songs for movie projects) but many climaxed in a defiant flick of the paper with the words on, over his shoulder, to the virtual acclaim of the audience, using the ‘clap’ emoji.
So usually around a hundred from around the world, log in to see and hear some cracking tracks performed really well vocally, fuelled by a fine red wine and a rapidly cooling cup of coffee. It would be difficult to pick out any from the vast catalogue (Elvis mastered over 240 songs for movie projects) but many climaxed in a defiant flick of the paper with the words on, over his shoulder, to the virtual acclaim of the audience, using the ‘clap’ emoji.
I will, however, flag up the contributions made by Tracey ‘Rusty Riot’ Dewar, (pictured left) on the Ann Margaret duets. She recorded the Ann parts in Scotland and sent the file to Scotty to play alongside the backing tape. So, ‘The Lady Loves Me’, was a/ perfect and b/ needs to be performed live on stage.
Scotty finished this past week with the Elvis 68 Comeback Special, as I guess Australia needs their people to return to work. We as part of the Wednesday night crew, thank him for the last few weeks.
Scotty finished this past week with the Elvis 68 Comeback Special, as I guess Australia needs their people to return to work. We as part of the Wednesday night crew, thank him for the last few weeks.
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Interview with Al Hendrix for Bettajive Review
(pics supplied by the interviewee for use in this piece)
BJR Al Hendrix, Rockabilly Hall of Fame inductee: first of all, thank you for this interview. We have to start at the beginning, where were you born and where did you spend your chldhood?
AH: I want to thank you for this interview! I was born in Miami, Florida on 11/12/1934. I spent my childhood in Miami, then Stone Mountain, GA. From there we moved to Lynwood, CA, then back to Tampa and Lakeland Florida. When I turned 13 we moved to Odessa, Texas. Stayed in Odessa until I was 17, then moved to South Texas. When I turned 18 I joined the Army and was sent to Korea in 1953. When I was stationed in Korea, I would entertain my buddies in the barracks.
BJR Whilst growing up, what music did you listen to, and do you think that those early experiences influenced you as a singer and musician?
AH: My Momma always had Country-Western music playing on the radio, every Saturday night we would listen to the Grand Ole Opry and eat hamburgers and her homemade French fries.
BJR Where did you get your first guitar, and do you recall the first songs you learned to play and sing?
AH: My Dad gave me my first guitar for Christmas when I was 13 in Odessa. Bobby Davis lived next door and he showed me a few chords. The very first song I learned was “Home on The Range,” by Gene Autry. They were all open chords! Then I started to listen to the radio and learned various songs from Hank Williams, Sr., Hank Snow, Eddie Arnold, Hank Thompson and other singers.
BJR You moved to Bakersfield, California, in the mid-fifties, met and played music with Buck Owens. What are your memories of those days?
AH: I met Buck at the famous “Black Board Café” and Billy Woods and His Orange Blossom Playboys. Buck was working for Billy at the time, he played lead guitar, they were the house band.
Billy Woods would ask me to come up and sing with them. Billy would ask me to do “When Your Heartaches Begin” and “Don’t Be Cruel,” by Elvis. And Little Richard songs along with Jerry Lee Lewis and Fats Domino.
BJR Tell us how the deal came about that saw you join Jolly Jody and the Go Daddies please.
AH: One evening while I was singing at the Black Board Café, Joe Kiplinger AKA Jolly Jody heard me singing and after my set was over, he told me he was putting a band together and he wanted me to be his lead singer. I asked him what kind of a band and he said Rock N Roll and Rockabilly. I told him I would be interested! Then Louis Talley wanted to record me and the Go Daddies. Our first recording was “Rhonda Lee” and “Go Daddy Rock.” I wrote both songs. These songs were recorded at Tally Recording Studio in Bakersfield. “Monkey Bite” and “For Sentimental Reasons,” “Jumpin’ Johnny” and “Ethalina” were also recorded by Pike Records in Bakersfield. Talley Records leased “Rhonda Lee” and “Go Daddy Rock” to ABC Paramount. I also recorded a song at Tally Records that Buck Owens wrote called “Hot Dog,” but was never released to ABC Paramount. The master has never been found of that song.
(pics supplied by the interviewee for use in this piece)
BJR Al Hendrix, Rockabilly Hall of Fame inductee: first of all, thank you for this interview. We have to start at the beginning, where were you born and where did you spend your chldhood?
AH: I want to thank you for this interview! I was born in Miami, Florida on 11/12/1934. I spent my childhood in Miami, then Stone Mountain, GA. From there we moved to Lynwood, CA, then back to Tampa and Lakeland Florida. When I turned 13 we moved to Odessa, Texas. Stayed in Odessa until I was 17, then moved to South Texas. When I turned 18 I joined the Army and was sent to Korea in 1953. When I was stationed in Korea, I would entertain my buddies in the barracks.
BJR Whilst growing up, what music did you listen to, and do you think that those early experiences influenced you as a singer and musician?
AH: My Momma always had Country-Western music playing on the radio, every Saturday night we would listen to the Grand Ole Opry and eat hamburgers and her homemade French fries.
BJR Where did you get your first guitar, and do you recall the first songs you learned to play and sing?
AH: My Dad gave me my first guitar for Christmas when I was 13 in Odessa. Bobby Davis lived next door and he showed me a few chords. The very first song I learned was “Home on The Range,” by Gene Autry. They were all open chords! Then I started to listen to the radio and learned various songs from Hank Williams, Sr., Hank Snow, Eddie Arnold, Hank Thompson and other singers.
BJR You moved to Bakersfield, California, in the mid-fifties, met and played music with Buck Owens. What are your memories of those days?
AH: I met Buck at the famous “Black Board Café” and Billy Woods and His Orange Blossom Playboys. Buck was working for Billy at the time, he played lead guitar, they were the house band.
Billy Woods would ask me to come up and sing with them. Billy would ask me to do “When Your Heartaches Begin” and “Don’t Be Cruel,” by Elvis. And Little Richard songs along with Jerry Lee Lewis and Fats Domino.
BJR Tell us how the deal came about that saw you join Jolly Jody and the Go Daddies please.
AH: One evening while I was singing at the Black Board Café, Joe Kiplinger AKA Jolly Jody heard me singing and after my set was over, he told me he was putting a band together and he wanted me to be his lead singer. I asked him what kind of a band and he said Rock N Roll and Rockabilly. I told him I would be interested! Then Louis Talley wanted to record me and the Go Daddies. Our first recording was “Rhonda Lee” and “Go Daddy Rock.” I wrote both songs. These songs were recorded at Tally Recording Studio in Bakersfield. “Monkey Bite” and “For Sentimental Reasons,” “Jumpin’ Johnny” and “Ethalina” were also recorded by Pike Records in Bakersfield. Talley Records leased “Rhonda Lee” and “Go Daddy Rock” to ABC Paramount. I also recorded a song at Tally Records that Buck Owens wrote called “Hot Dog,” but was never released to ABC Paramount. The master has never been found of that song.
BJR When you recorded and performed during the start of your career, did you consider your sound as Rockabilly at the time? Was that a regularly-used term, or do you think that it has been categorised as such in later years?
AH: Yes, I did consider it Rockabilly, but that term was not as well-known as Rock N Roll and Country. All the Rock N Roll DJ’s were playing my music at that time. I think that now the Rock N Roll of the 50’s and early 60’s, before the Beatles came on the scene, is referred to as Rockabilly.
BJR While performing, what other artists did you encounter on the music circuit?
AH: I met Dodie Stevens on Wink Martindale’s Pacific Ocean Park (this TV show was known as the West Coast Bandstand). I also met Elvis, Jerry Lee Lewis, Little Richard, Eddie Cochran, Art Laboe, who was a very well-known DJ in the LA and San Diego area. He loved “Young and Wild,” and he played it every hour on the hour. Wink Martindale, Cliffie Stone, Cliff Crofford, Billy Mize, Robert Williams AKA Big Sandy, Levi Dexter, Gene Summers, Art Adams, Deke Dickerson, Dave Gonzales of the Paladins and Allan Clarke, who recorded my song. “Young And Wild.”
BJR And who of your contemporaries impressed you the most?
AH: Elvis. of course, then Tom Jones - he was a funny guy. And Eddie Cochran was a very nice guy. In fact, all of the entertainers I met treated me nice.
BJR You moved to LaGree Records, and recorded ‘Young and Wild’ with ‘I Need You’. Two quite different songs, and ‘Young and Wild’ has become a classic on the Rock n Roll dance floor. And back when you recorded it, how did the record do on it’s original release?
AH: “Young and Wild” did not do as well here in the States as it did in the UK. “I Need You” (the B side) was a number one hit in El Paso, Texas for six weeks straight. Alan Freed was playing “Young and Wild” every hour on the hour in the LA and San Diego area. “Young and Wild” and “I Need You” received notoriety in Cash Box and Billboard magazines
BJR Did you have a ‘day job’ during that time?
AH: Yes I did have a day job. I laid tile for Western Tile Company out of San Diego, CA. While I was laying tile I would hear Alan Freed playing my song “Young and Wild” and the crew kept asking me when I was going to quit and go on the road, ha ha.
BJR In the UK and Europe, there was a resurgence in interest in early Rockabilly music during the 70’s and 80’s. Were you aware of that at all?
AH: Yes, I was aware of this. In, fact I received a letter from Engleton and Chalmers who were promoters from England and they wanted to lease my song "Monkey Bite." I called Phil LaGree, my manager at that time, and showed him the letter, he contacted them and quoted a dollar amount and they said no, they wanted it for nothing. Phil told me that was not a good idea, so we did not give them the song.
BJR When you start recording again, what was the catalyst that got it started again
AH: I met Marty Rush in a record store here in Auburn, CA where I am living today, a store that sold my early recordings. He loved my songs and he could not believe that my voice was still good and he said he wanted to produce a CD, so that is how I met Jimmi Accardi, who is my engineer and we have made 7 CDs. Jimmi has a state-of-the-art recording studio called The Hit House.
BJR How did it feel to be playing live again?
AH: Playing live is such a rewarding feeling. To know that you are entertaining and making people feel good…I just love to sing and entertain. I believe that this helps you to stay young at heart. I am 85 and still love to sing to a crowd whether it is to one or a hundred thousand. And I still write all my songs!
AH: Yes, I did consider it Rockabilly, but that term was not as well-known as Rock N Roll and Country. All the Rock N Roll DJ’s were playing my music at that time. I think that now the Rock N Roll of the 50’s and early 60’s, before the Beatles came on the scene, is referred to as Rockabilly.
BJR While performing, what other artists did you encounter on the music circuit?
AH: I met Dodie Stevens on Wink Martindale’s Pacific Ocean Park (this TV show was known as the West Coast Bandstand). I also met Elvis, Jerry Lee Lewis, Little Richard, Eddie Cochran, Art Laboe, who was a very well-known DJ in the LA and San Diego area. He loved “Young and Wild,” and he played it every hour on the hour. Wink Martindale, Cliffie Stone, Cliff Crofford, Billy Mize, Robert Williams AKA Big Sandy, Levi Dexter, Gene Summers, Art Adams, Deke Dickerson, Dave Gonzales of the Paladins and Allan Clarke, who recorded my song. “Young And Wild.”
BJR And who of your contemporaries impressed you the most?
AH: Elvis. of course, then Tom Jones - he was a funny guy. And Eddie Cochran was a very nice guy. In fact, all of the entertainers I met treated me nice.
BJR You moved to LaGree Records, and recorded ‘Young and Wild’ with ‘I Need You’. Two quite different songs, and ‘Young and Wild’ has become a classic on the Rock n Roll dance floor. And back when you recorded it, how did the record do on it’s original release?
AH: “Young and Wild” did not do as well here in the States as it did in the UK. “I Need You” (the B side) was a number one hit in El Paso, Texas for six weeks straight. Alan Freed was playing “Young and Wild” every hour on the hour in the LA and San Diego area. “Young and Wild” and “I Need You” received notoriety in Cash Box and Billboard magazines
BJR Did you have a ‘day job’ during that time?
AH: Yes I did have a day job. I laid tile for Western Tile Company out of San Diego, CA. While I was laying tile I would hear Alan Freed playing my song “Young and Wild” and the crew kept asking me when I was going to quit and go on the road, ha ha.
BJR In the UK and Europe, there was a resurgence in interest in early Rockabilly music during the 70’s and 80’s. Were you aware of that at all?
AH: Yes, I was aware of this. In, fact I received a letter from Engleton and Chalmers who were promoters from England and they wanted to lease my song "Monkey Bite." I called Phil LaGree, my manager at that time, and showed him the letter, he contacted them and quoted a dollar amount and they said no, they wanted it for nothing. Phil told me that was not a good idea, so we did not give them the song.
BJR When you start recording again, what was the catalyst that got it started again
AH: I met Marty Rush in a record store here in Auburn, CA where I am living today, a store that sold my early recordings. He loved my songs and he could not believe that my voice was still good and he said he wanted to produce a CD, so that is how I met Jimmi Accardi, who is my engineer and we have made 7 CDs. Jimmi has a state-of-the-art recording studio called The Hit House.
BJR How did it feel to be playing live again?
AH: Playing live is such a rewarding feeling. To know that you are entertaining and making people feel good…I just love to sing and entertain. I believe that this helps you to stay young at heart. I am 85 and still love to sing to a crowd whether it is to one or a hundred thousand. And I still write all my songs!
BJR The induction into the Rockabilly Hall of Fame, that must’ve been quite something. Tell us how it felt for you to receive such an honour.
AH: I was caught by surprise when I received the call from Bob Timmers telling me that I was inducted into the Rockabilly Hall of Fame. What an honor this was. It is still hard to believe that this honor was bestowed on me. It opened doors for me as promoters thought I was dead. I am very grateful for this wonderful award.
BJR You’ve partnered with Time Life, releasing seven albums on various digital platforms. How did that collaboration come about?
AH: A good friend of mine who is a DJ by the name of Scott Wikle introduced me to Kirt Webster, who is now my PR man, and he got the ball rolling. What an exciting trip it is going to be!!!!!
BJR Do you have any new music coming out soon?
AH: Yes. I do hopefully if all goes well. The Covid19, it has put a damper on my recordings but I do plan on a gospel CD. I have written several songs already - one is called “The Flicker of the Flame.” I also have several other songs that I am working on that are not Christian. I am hoping to be able to release these songs by the end of the year, or sometime in 2021.
BJR And finally Al, thank you for giving us this interview
AH: You are most welcome!!! Remember - NEVER STOP ROCKIN. This will keep you YOUNG AND WILD!!!!
-Al Hendrix, America's Lost Rocker
AH: I was caught by surprise when I received the call from Bob Timmers telling me that I was inducted into the Rockabilly Hall of Fame. What an honor this was. It is still hard to believe that this honor was bestowed on me. It opened doors for me as promoters thought I was dead. I am very grateful for this wonderful award.
BJR You’ve partnered with Time Life, releasing seven albums on various digital platforms. How did that collaboration come about?
AH: A good friend of mine who is a DJ by the name of Scott Wikle introduced me to Kirt Webster, who is now my PR man, and he got the ball rolling. What an exciting trip it is going to be!!!!!
BJR Do you have any new music coming out soon?
AH: Yes. I do hopefully if all goes well. The Covid19, it has put a damper on my recordings but I do plan on a gospel CD. I have written several songs already - one is called “The Flicker of the Flame.” I also have several other songs that I am working on that are not Christian. I am hoping to be able to release these songs by the end of the year, or sometime in 2021.
BJR And finally Al, thank you for giving us this interview
AH: You are most welcome!!! Remember - NEVER STOP ROCKIN. This will keep you YOUNG AND WILD!!!!
-Al Hendrix, America's Lost Rocker
Interview with the Hi-Jivers
Every now and then readers, we come across a real ‘wow’ band, and a couple of years ago, one such band came along. It was Youtube videos, and one made by Bopflix films, that was our introduction to The Hi-Jivers. Email exchanges between us and promoters here in the UK, revealed that they were playing not one, but two blue chip events in 2019.
The onstage presence, vocal delivery and musicianship, had all the attitude and punch that the videos had promised. Into 2020, and there are changes afoot, not only due to the Coronavirus outbreak (which at the time of writing we are on the recovery side from here in the UK), but also a second album in the offing and the release of a new single. So we wanted to get some info behind the talent. Here we speak to lead singer Dawna Zahn and lead guitarist (and Dawna’s fiancé) Austin John Doody. The two pictures below are from our own archive, the remainder have been supplied by the Hi-Jivers for use in this piece
Every now and then readers, we come across a real ‘wow’ band, and a couple of years ago, one such band came along. It was Youtube videos, and one made by Bopflix films, that was our introduction to The Hi-Jivers. Email exchanges between us and promoters here in the UK, revealed that they were playing not one, but two blue chip events in 2019.
The onstage presence, vocal delivery and musicianship, had all the attitude and punch that the videos had promised. Into 2020, and there are changes afoot, not only due to the Coronavirus outbreak (which at the time of writing we are on the recovery side from here in the UK), but also a second album in the offing and the release of a new single. So we wanted to get some info behind the talent. Here we speak to lead singer Dawna Zahn and lead guitarist (and Dawna’s fiancé) Austin John Doody. The two pictures below are from our own archive, the remainder have been supplied by the Hi-Jivers for use in this piece
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BJR Ok, the obvious place to start for those who don’t know you, where are you both from
DZ: We’re both from the Finger Lakes region in Central New York State, near Syracuse. Austin & I grew up about ten minutes away from each other and attended the same high school.
BJR What are your musical backgrounds? For example, your influences initially and currently, artists musicians and the like.
AJD: I started playing guitar at 15 and was instantly drawn to Rock n’ Roll and Blues music. At first I was really inspired by artists like Stevie Ray Vaughan & Jimi Hendrix, but quickly started tracing their influences back to earlier Blues. This is when I started discovering the Blues greats like Muddy Waters, Buddy Guy, T-Bone Walker, Magic Sam, Gatemouth Brown & Guitar Slim. I’m still heavily inspired by these players today. I’ve also been influenced a lot by Delta blues players such as Leadbelly, R.L. Burnside, Junior Kimbrough and Robert Johnson. Recently, I’ve been infatuated with a lot of Jump Blues guitar players. Artists such as Hollywood Fats, Pee Wee Crayton, Bill Jennings and Lowell Fulson have really inspired me to play guitar in a different way. Some current musicians I really dig are The Blasters, Nikki Hill, Kid Ramos, Junior Watson, Kim Wilson and Jimmie Vaughan.
DZ: I grew up listening to a lot of early Country, Folk and Rock N’ Roll (inspired of course by what my parents were into). By my late teens/early twenties I had started to dig into a lot of Delta, Texas & Chicago Blues. I honestly still listen to most of the same stuff I listened to 10-15 years ago: Muddy Waters, Howlin’ Wolf, Little Walter, Etta James, Big Maybelle, Otis Rush, Big Mama Thornton, Son House, Robert Johnson, Bob Dylan, and Johnny Cash to name a few. As far as current artists, I’m a huge fan of J.D. McPherson, Nikki Hill, C.W. Stoneking, Shanda & The Howlers, McKinley James, Becky Lynn Blanca & The Rhythm Shakers.
BJR How and where did you meet?
DZ: So we attended the same high school, but I was a year older than Austin and we didn’t become friends until our early 20s. We had both been performing locally in our own bands for a few years, and Austin joined my band Silver Queen Casket Company as a second guitar player in 2013.
BJR Do you recall the first songs you played and performed together?
AJD: Silver Queen had pretty diverse set list. I remember playing “Bang, Bang” by Nancy Sinatra, “Sixteen Tons” by Tennessee Ernie Ford, and “Can’t Be Satisfied” by Muddy Waters, to name a few.
DZ: “Bring It On Home To Me” by Sam Cooke and “Oh, Darling” by The Beatles were a couple of the first songs that made it into our live show. I’ve always been a huge Creedence fan and I’d be lying if I said we didn’t have quite a few of their tunes on our set list back then. And just to solidify what Austin said about that set list being diverse: “Eighteen” by Alice Cooper.
BJR You moved to Nashville and formed The Hi-Jivers in 2015, how did you meet your fellow musicians?
AJD: Dawna & I began frequenting a blues jam in Nashville hoping to find a rhythm section for our new band. Hank Miles (upright bass) was referred to us by the folks who hosted the jam. We met up to discuss putting a band together and Hank brought along Aaron Mlasko, our original drummer, who like Hank had just moved to town from Seattle, WA. Hank remained with The Hi-Jivers until March 2020, when he relocated to Austin, TX to pursue his career in metal fabrication. Aaron quickly went on to pursue other ventures, and we’ve since had the pleasure of performing with a roster of talented drummers like Jason Smay and Tony DeCurtis.
BJR Who chose the name?
DZ: Aaron Mlasko suggested the name and we all immediately dug it. The term “high-jivers” was pulled from the dedication of jazz musician Mezz Mezzrow’s book Really the Blues.
“To the Sweettalkers, the Gumbeaters, the High-Jivers, out of the gallon for good and never going to take it low again. (You got to make it, daddy.)”
We originally spelled it “High-Jivers”, but found most people assumed it was spelled “Hi-Jivers”, and we preferred the look of the latter, so we changed it in the Spring of 2018.
DZ: We’re both from the Finger Lakes region in Central New York State, near Syracuse. Austin & I grew up about ten minutes away from each other and attended the same high school.
BJR What are your musical backgrounds? For example, your influences initially and currently, artists musicians and the like.
AJD: I started playing guitar at 15 and was instantly drawn to Rock n’ Roll and Blues music. At first I was really inspired by artists like Stevie Ray Vaughan & Jimi Hendrix, but quickly started tracing their influences back to earlier Blues. This is when I started discovering the Blues greats like Muddy Waters, Buddy Guy, T-Bone Walker, Magic Sam, Gatemouth Brown & Guitar Slim. I’m still heavily inspired by these players today. I’ve also been influenced a lot by Delta blues players such as Leadbelly, R.L. Burnside, Junior Kimbrough and Robert Johnson. Recently, I’ve been infatuated with a lot of Jump Blues guitar players. Artists such as Hollywood Fats, Pee Wee Crayton, Bill Jennings and Lowell Fulson have really inspired me to play guitar in a different way. Some current musicians I really dig are The Blasters, Nikki Hill, Kid Ramos, Junior Watson, Kim Wilson and Jimmie Vaughan.
DZ: I grew up listening to a lot of early Country, Folk and Rock N’ Roll (inspired of course by what my parents were into). By my late teens/early twenties I had started to dig into a lot of Delta, Texas & Chicago Blues. I honestly still listen to most of the same stuff I listened to 10-15 years ago: Muddy Waters, Howlin’ Wolf, Little Walter, Etta James, Big Maybelle, Otis Rush, Big Mama Thornton, Son House, Robert Johnson, Bob Dylan, and Johnny Cash to name a few. As far as current artists, I’m a huge fan of J.D. McPherson, Nikki Hill, C.W. Stoneking, Shanda & The Howlers, McKinley James, Becky Lynn Blanca & The Rhythm Shakers.
BJR How and where did you meet?
DZ: So we attended the same high school, but I was a year older than Austin and we didn’t become friends until our early 20s. We had both been performing locally in our own bands for a few years, and Austin joined my band Silver Queen Casket Company as a second guitar player in 2013.
BJR Do you recall the first songs you played and performed together?
AJD: Silver Queen had pretty diverse set list. I remember playing “Bang, Bang” by Nancy Sinatra, “Sixteen Tons” by Tennessee Ernie Ford, and “Can’t Be Satisfied” by Muddy Waters, to name a few.
DZ: “Bring It On Home To Me” by Sam Cooke and “Oh, Darling” by The Beatles were a couple of the first songs that made it into our live show. I’ve always been a huge Creedence fan and I’d be lying if I said we didn’t have quite a few of their tunes on our set list back then. And just to solidify what Austin said about that set list being diverse: “Eighteen” by Alice Cooper.
BJR You moved to Nashville and formed The Hi-Jivers in 2015, how did you meet your fellow musicians?
AJD: Dawna & I began frequenting a blues jam in Nashville hoping to find a rhythm section for our new band. Hank Miles (upright bass) was referred to us by the folks who hosted the jam. We met up to discuss putting a band together and Hank brought along Aaron Mlasko, our original drummer, who like Hank had just moved to town from Seattle, WA. Hank remained with The Hi-Jivers until March 2020, when he relocated to Austin, TX to pursue his career in metal fabrication. Aaron quickly went on to pursue other ventures, and we’ve since had the pleasure of performing with a roster of talented drummers like Jason Smay and Tony DeCurtis.
BJR Who chose the name?
DZ: Aaron Mlasko suggested the name and we all immediately dug it. The term “high-jivers” was pulled from the dedication of jazz musician Mezz Mezzrow’s book Really the Blues.
“To the Sweettalkers, the Gumbeaters, the High-Jivers, out of the gallon for good and never going to take it low again. (You got to make it, daddy.)”
We originally spelled it “High-Jivers”, but found most people assumed it was spelled “Hi-Jivers”, and we preferred the look of the latter, so we changed it in the Spring of 2018.
BJR It wasn’t long before you started to perform at some of the big festivals in the US, and then Europe came calling. Had any of you been to Europe before, and were you aware of the Rock n Roll music circuit?
AJD: We’ve been following a lot of killer Rock n’ Roll bands as long as we can remember, and we were actively trying to make our way onto that circuit. Our first ever trip to Europe was to perform at the Rockabilly Rave in 2019, and our second trip was to perform at the Rhythm Riot later that year. We plan to put together a European tour in 2021.
BJR What were your experiences like at those events?
DZ: It’s always exciting for us to be reminded how much people still dig Roots music, and it’s an honor to be part of a scene that wants to keep that music alive. We love meeting new people, especially other musicians who share our passion for early Rhythm & Blues and Rock n’ Roll. It’s such a vibrant and colorful scene, you can’t help but feel inspired at those events.
BJR As we mentioned, you are getting together your second album. Are you the type of songwriters that have to have a set time to write, or do you work on ideas and inspirations as they come to you?
AJD: When it comes to creativity I’m always brainstorming ideas, recording demos and seeking new inspiration. Sometimes I’ll have a bunch of ideas come to me at once, but other times I find myself in a stale period creatively. I really enjoy the process of songwriting. It’s very fun to show the band new ideas and then collectively start to develop the songs.
DZ: I’m always happier with the final product if it comes out organically. I can go months without any inspiration, and then write a couple of songs in a week. Austin is a creative machine- I try my best to keep up with him!
BJR How has the Coronavirus crisis affected you? You done some live shows online, what are the positives you can draw from being ‘locked down’?
AJD: Being stuck at home has given me an enormous amount of time to practice my guitar playing. I’ve also started offering online guitar lessons and have really enjoyed the challenge of teaching and the opportunity to watch my students progress. It’s also been great to have free time to write songs for the new album. We’ve done a handful of livestreams from our house which were very enjoyable to. I just can’t wait to perform live again!
DZ: Spending so much time at home has honestly been a positive experience for me. It’s allowed me to decompress and focus on songwriting more than I was able to while traveling & working so frequently. Austin’s been teaching me to play electric bass, which has been a blast and has helped me to better understand music theory.
The response to our live streams has been really interesting. I had no idea what to expect, but it seems like they’ve reached a far wider audience than we had anticipated. It’s a pretty awkward singing to a phone screen, but we’re so grateful that people were interested in tuning in! It’s definitely helped us cope with being off stage for so long.
BJR What else does the immediate future hold for The Hi-Jivers?
DZ: The biggest change for The Hi-Jivers in the coming months will be the introduction of a new bass player to replace Hank since his move to Austin, TX earlier this year. It’ll be a big adjustment for us, but we’re excited for the challenge. We’re hoping to start playing locally in Nashville soon, and in the meantime we’ll continue to write and create new merchandise to offer in our online store.
BJR Finally, where can people get in touch to book The Hi-Jivers or purchase music and merchandise?
AJD: We’re available for bookings through our email at [email protected]. To purchase music, merchandise and see our show schedule (once we get back on stage!) head on over to our website at www.thehijivers.com.
Thank you for participating in this interview for us.
Thank you for taking the time to chat with us!
AJD: We’ve been following a lot of killer Rock n’ Roll bands as long as we can remember, and we were actively trying to make our way onto that circuit. Our first ever trip to Europe was to perform at the Rockabilly Rave in 2019, and our second trip was to perform at the Rhythm Riot later that year. We plan to put together a European tour in 2021.
BJR What were your experiences like at those events?
DZ: It’s always exciting for us to be reminded how much people still dig Roots music, and it’s an honor to be part of a scene that wants to keep that music alive. We love meeting new people, especially other musicians who share our passion for early Rhythm & Blues and Rock n’ Roll. It’s such a vibrant and colorful scene, you can’t help but feel inspired at those events.
BJR As we mentioned, you are getting together your second album. Are you the type of songwriters that have to have a set time to write, or do you work on ideas and inspirations as they come to you?
AJD: When it comes to creativity I’m always brainstorming ideas, recording demos and seeking new inspiration. Sometimes I’ll have a bunch of ideas come to me at once, but other times I find myself in a stale period creatively. I really enjoy the process of songwriting. It’s very fun to show the band new ideas and then collectively start to develop the songs.
DZ: I’m always happier with the final product if it comes out organically. I can go months without any inspiration, and then write a couple of songs in a week. Austin is a creative machine- I try my best to keep up with him!
BJR How has the Coronavirus crisis affected you? You done some live shows online, what are the positives you can draw from being ‘locked down’?
AJD: Being stuck at home has given me an enormous amount of time to practice my guitar playing. I’ve also started offering online guitar lessons and have really enjoyed the challenge of teaching and the opportunity to watch my students progress. It’s also been great to have free time to write songs for the new album. We’ve done a handful of livestreams from our house which were very enjoyable to. I just can’t wait to perform live again!
DZ: Spending so much time at home has honestly been a positive experience for me. It’s allowed me to decompress and focus on songwriting more than I was able to while traveling & working so frequently. Austin’s been teaching me to play electric bass, which has been a blast and has helped me to better understand music theory.
The response to our live streams has been really interesting. I had no idea what to expect, but it seems like they’ve reached a far wider audience than we had anticipated. It’s a pretty awkward singing to a phone screen, but we’re so grateful that people were interested in tuning in! It’s definitely helped us cope with being off stage for so long.
BJR What else does the immediate future hold for The Hi-Jivers?
DZ: The biggest change for The Hi-Jivers in the coming months will be the introduction of a new bass player to replace Hank since his move to Austin, TX earlier this year. It’ll be a big adjustment for us, but we’re excited for the challenge. We’re hoping to start playing locally in Nashville soon, and in the meantime we’ll continue to write and create new merchandise to offer in our online store.
BJR Finally, where can people get in touch to book The Hi-Jivers or purchase music and merchandise?
AJD: We’re available for bookings through our email at [email protected]. To purchase music, merchandise and see our show schedule (once we get back on stage!) head on over to our website at www.thehijivers.com.
Thank you for participating in this interview for us.
Thank you for taking the time to chat with us!
record reviews
Here's our selection of record, cd and download reviews for this month. You can check availability at the sellers below by clicking on the flyers which will take you to their sites.
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Bad and Beautiful - Delta 88
Devon based Rockabilly Trio, Delta 88, have released a six track mini album on Western Star Records, that contains all new and original material, waxed onto red/orange vinyl. The band are Simon Clews - guitar and vocals, his wife Nikki Clews on drums and vocals with Julian Wood slapping the upright bass.
A ticking bass and rolling drum beat herald the opening track which is a tribute to the film noir actress, Gloria Grahame (1923-1981). She is also the subject of the album cover art with an image from the 1949 film, ‘A Woman’s Secret’. At just over four minutes long, it’s a kind of a fan follower story, (he prefers Gloria to Jane Greer, Lana Turner and Rita Hayworth) set to a seriously catchy beat.
There’s a sinister ambience that opens up an embittered rocker ‘Ghost of Love’. I like the start-stop rhythm, while the vocals relate the tale of lost love, and the fallout from it. Cool bass and guitar work on this one, readers. Rocking out next is ‘Out of my Mind’, a kicking Rockabilly track that has a Charlie Feathers feel to the guitar work, and you’ll love the vocals set to just the slap bass, mid tune.
Flipping the record over, we open with ‘Planet Primitive’, a space age rock out at over four minutes duration. The lyrics are a kind of paradox, ‘a 21st Century Primitive Planet’ for example. Ace use of Nikki’s vocals to set the android-like ambience. ‘My Perfection’ describes a fantasy figure girl, set out in the imagination. Eventually it results in almost torture. Set that theme to a mid-tempo beat, and you have a thought provoking and somewhat menacing sound, which is really well done.
Finally, it’s ‘Betty and the Page Boys’, an up tempo bounce-along tune has subtle references to the model Betty Mae Page, however, it’s more about a band of that name with a singer coincidentally having the same first name. She sounds like quite the performer!
This is the third album from Delta 88. They are classy musicians and accomplished songwriters, and the whole package is extremely well presented.
Devon based Rockabilly Trio, Delta 88, have released a six track mini album on Western Star Records, that contains all new and original material, waxed onto red/orange vinyl. The band are Simon Clews - guitar and vocals, his wife Nikki Clews on drums and vocals with Julian Wood slapping the upright bass.
A ticking bass and rolling drum beat herald the opening track which is a tribute to the film noir actress, Gloria Grahame (1923-1981). She is also the subject of the album cover art with an image from the 1949 film, ‘A Woman’s Secret’. At just over four minutes long, it’s a kind of a fan follower story, (he prefers Gloria to Jane Greer, Lana Turner and Rita Hayworth) set to a seriously catchy beat.
There’s a sinister ambience that opens up an embittered rocker ‘Ghost of Love’. I like the start-stop rhythm, while the vocals relate the tale of lost love, and the fallout from it. Cool bass and guitar work on this one, readers. Rocking out next is ‘Out of my Mind’, a kicking Rockabilly track that has a Charlie Feathers feel to the guitar work, and you’ll love the vocals set to just the slap bass, mid tune.
Flipping the record over, we open with ‘Planet Primitive’, a space age rock out at over four minutes duration. The lyrics are a kind of paradox, ‘a 21st Century Primitive Planet’ for example. Ace use of Nikki’s vocals to set the android-like ambience. ‘My Perfection’ describes a fantasy figure girl, set out in the imagination. Eventually it results in almost torture. Set that theme to a mid-tempo beat, and you have a thought provoking and somewhat menacing sound, which is really well done.
Finally, it’s ‘Betty and the Page Boys’, an up tempo bounce-along tune has subtle references to the model Betty Mae Page, however, it’s more about a band of that name with a singer coincidentally having the same first name. She sounds like quite the performer!
This is the third album from Delta 88. They are classy musicians and accomplished songwriters, and the whole package is extremely well presented.
Big Sandy – Sing and Play the Songs of Freddy Fender EP review
Baldemar Garza Huerta, (1937 – 2006) was born in Corpus Christi, Texas, and legally changed his name to Freddy Fender in 1958. Fender came from the guitar and amplifier company and Freddy, was apparently chosen for it’s alliteration, so it was easy to recall.
Here on this CD, or two vinyl singles, whichever medium takes your fancy, Big Sandy and the Flyrite Boys (along with Ashley Kingman, Kevin Stewart and Kip S Dabbs) take on two of his biggest hits and two additional songs to pay tribute to Freddy. ‘Before the Next Teardrop Falls’ was recorded originally in 1974, and received the Country Music Association’s ‘Single of the Year’ award in 1975. It was sung in both English and Spanish throughout. Robert ‘Big Sandy’ Williams, has the perfect vocal delivery to replicate this, and although the lyrics are more of a lament, the song is a joy to listen to.
‘Wasted Days and Wasted Nights’ was a blues ballad that Freddy originally recorded in 1959, however it was in 1975, along with the previous track, it was rereleased, and in no small part responsible for the rejuvenation of Freddy Fender’s career. Ashley Kingman’s guitar break on the Big Sandy version is powerful, bluesy and gutsy, a super cool accompaniment for the vocals.
Baldemar Garza Huerta, (1937 – 2006) was born in Corpus Christi, Texas, and legally changed his name to Freddy Fender in 1958. Fender came from the guitar and amplifier company and Freddy, was apparently chosen for it’s alliteration, so it was easy to recall.
Here on this CD, or two vinyl singles, whichever medium takes your fancy, Big Sandy and the Flyrite Boys (along with Ashley Kingman, Kevin Stewart and Kip S Dabbs) take on two of his biggest hits and two additional songs to pay tribute to Freddy. ‘Before the Next Teardrop Falls’ was recorded originally in 1974, and received the Country Music Association’s ‘Single of the Year’ award in 1975. It was sung in both English and Spanish throughout. Robert ‘Big Sandy’ Williams, has the perfect vocal delivery to replicate this, and although the lyrics are more of a lament, the song is a joy to listen to.
‘Wasted Days and Wasted Nights’ was a blues ballad that Freddy originally recorded in 1959, however it was in 1975, along with the previous track, it was rereleased, and in no small part responsible for the rejuvenation of Freddy Fender’s career. Ashley Kingman’s guitar break on the Big Sandy version is powerful, bluesy and gutsy, a super cool accompaniment for the vocals.
Big Sandy on stage
‘I Can’t Remember When I Didn’t Love You’ was originally the ‘B’ side of ‘Wasted Days’ on Imperial Records in 1960, where Freddy is spelled with an ‘ie’ instead of ‘y’. Whichever, this is a jubilant rocker, reproduced in true Big Sandy style, with Kevin Stewart’s striding slap bass rhythm and rock-out guitar solo (in place of the sax on the Fender record). It’s two and a half blissful minutes folks.
Finally, the ‘A’ side of a single that was also released on Imperial in ’60, preceding the above by a couple of months. ‘Holy One’ is a smoochy love ballad, about young love. The cover here is as close as you’re likely to hear to the original recording, and you’ll love the reverb on the guitar.
Robert’s voice and vocal delivery are spot on throughout, and the musicianship providing the backing is sublime. A fitting tribute to the man himself, and even the record label ‘Baldemar’ bears Fender’s given name.
A guaranteed delight
Finally, the ‘A’ side of a single that was also released on Imperial in ’60, preceding the above by a couple of months. ‘Holy One’ is a smoochy love ballad, about young love. The cover here is as close as you’re likely to hear to the original recording, and you’ll love the reverb on the guitar.
Robert’s voice and vocal delivery are spot on throughout, and the musicianship providing the backing is sublime. A fitting tribute to the man himself, and even the record label ‘Baldemar’ bears Fender’s given name.
A guaranteed delight
Bettie O’Brien & Barbara Dane – New 45rpm
There’s a period in musical time when R&B added a soulful twist to the sound, (Popcorn maybe?) and two such examples are to be found on this cool 45rpm
Betty O’Brien’s ‘She’ll Be Gone’ was originally released on Liberty Records in 1961. A dancefloor stroll rhythm, relates the tale of a lady leaving town and an unfaithful lover, for New York.
On the flip, Barbara Dane’s 1960 release from Trey Records, another full sounding belting female vocal track which will be a monster stroller in the clubs.
You’ll hear a lot of these two tunes
There’s a period in musical time when R&B added a soulful twist to the sound, (Popcorn maybe?) and two such examples are to be found on this cool 45rpm
Betty O’Brien’s ‘She’ll Be Gone’ was originally released on Liberty Records in 1961. A dancefloor stroll rhythm, relates the tale of a lady leaving town and an unfaithful lover, for New York.
On the flip, Barbara Dane’s 1960 release from Trey Records, another full sounding belting female vocal track which will be a monster stroller in the clubs.
You’ll hear a lot of these two tunes
Don Wade 45rpm Repro
Don Wade, was born Harold Tidwell, and was originally a Country singer. Seemingly his entire output as Don Wade came in 1959, with two of his recordings appearing from that year appearing on this San label vinyl 45.
Here we have ‘Gone, Gone, Gone’ a classic sounding Rockabilly track, written by Wade himself, (not to be confused with the Carl Perkins track of that name). A beauty of a hot boppin’ track this one, readers.
Flip it over, and we have a corking rocker, ‘Oh Love’ with a thumping rhythm and ace lead guitar work, recollecting the singer’s love of his life.
Top tunage folks!
Don Wade, was born Harold Tidwell, and was originally a Country singer. Seemingly his entire output as Don Wade came in 1959, with two of his recordings appearing from that year appearing on this San label vinyl 45.
Here we have ‘Gone, Gone, Gone’ a classic sounding Rockabilly track, written by Wade himself, (not to be confused with the Carl Perkins track of that name). A beauty of a hot boppin’ track this one, readers.
Flip it over, and we have a corking rocker, ‘Oh Love’ with a thumping rhythm and ace lead guitar work, recollecting the singer’s love of his life.
Top tunage folks!
Jackie Wilson repro 45rpm
Jack Leroy ‘Jackie’ Wilson Jr (1934-1984) was one of the most dynamic and enigmatic performers of the 1950’s and 60’s. Here’s a reproduction release of one of the most familiar two sider singles on the Rock n Roll dance circuit.
‘Love Train’s was written by the formidable partnership of Otis Blackwell and Winfield Scott, and musically arranged by Dick Scott. It’s a pacey R&B jiver with Jackie’s vocal delivery apparently mimicking Elvis. A classic dancefloor winner
If you have ever been to a Rock n Roll gig, it’s a fair bet you’ve heard ‘Etcetera’, which is on the flip. This was written by Berry Gordy, the founder of Motown. It’s a bright and lively R&B jive beat, and stick on floor filler, benefitting from Jackie’s amazing vocal delivery
Jack Leroy ‘Jackie’ Wilson Jr (1934-1984) was one of the most dynamic and enigmatic performers of the 1950’s and 60’s. Here’s a reproduction release of one of the most familiar two sider singles on the Rock n Roll dance circuit.
‘Love Train’s was written by the formidable partnership of Otis Blackwell and Winfield Scott, and musically arranged by Dick Scott. It’s a pacey R&B jiver with Jackie’s vocal delivery apparently mimicking Elvis. A classic dancefloor winner
If you have ever been to a Rock n Roll gig, it’s a fair bet you’ve heard ‘Etcetera’, which is on the flip. This was written by Berry Gordy, the founder of Motown. It’s a bright and lively R&B jive beat, and stick on floor filler, benefitting from Jackie’s amazing vocal delivery
John Lee Hooker repro 45
Loco Moto Records have paired a couple of cracking tracks from legendary Blues performer, John Lee Hooker (circa 1917-2001), on a limited edition 45rpm.
The ‘A’ side is Hooker’s version of the Berry Gordy Jr, composition, ‘Money’. This take is a raw and typical of the Boogie Man’s style, and originally from a 1966 single on Impulse! Records.
Flip it over and you have ‘Run On’ from 1960. Those familiar with his work will recall ‘Dimples’ from 1956, that charted in the UK in 1964 (#23). ‘Run On’ is a very similar composition and rhythm. As well as being pure class
You need this in your lives people
Loco Moto Records have paired a couple of cracking tracks from legendary Blues performer, John Lee Hooker (circa 1917-2001), on a limited edition 45rpm.
The ‘A’ side is Hooker’s version of the Berry Gordy Jr, composition, ‘Money’. This take is a raw and typical of the Boogie Man’s style, and originally from a 1966 single on Impulse! Records.
Flip it over and you have ‘Run On’ from 1960. Those familiar with his work will recall ‘Dimples’ from 1956, that charted in the UK in 1964 (#23). ‘Run On’ is a very similar composition and rhythm. As well as being pure class
You need this in your lives people
Kenny Parchman – Repro 45rpm
Kenny Parchman (1932-1999) was a recording artist at Sun records that didn’t seem to have the greatest luck in his early career. He recorded ‘Love Crazy Baby’ and ‘I Feel Like Rockin’ that weren’t released, and spent two more years recording without any record release.
Here is a super double stack Sun repro 45rpm with two of his best Rockabilly tracks. ‘Tennessee Zip’ was written by Parchman himself, a bop along tempo with an authentic sound that would grace any dancefloor.
The flip has the afore mentioned ‘I Feel Like Rockin’, a super cool call-and-answer piano and guitar driven rocker.
Kenny Parchman (1932-1999) was a recording artist at Sun records that didn’t seem to have the greatest luck in his early career. He recorded ‘Love Crazy Baby’ and ‘I Feel Like Rockin’ that weren’t released, and spent two more years recording without any record release.
Here is a super double stack Sun repro 45rpm with two of his best Rockabilly tracks. ‘Tennessee Zip’ was written by Parchman himself, a bop along tempo with an authentic sound that would grace any dancefloor.
The flip has the afore mentioned ‘I Feel Like Rockin’, a super cool call-and-answer piano and guitar driven rocker.
Mike Waggoner – Repro 45
Interestingly enough, the actual billing is ‘Mike Waggoner and Bops’, no definite article to describe a band from the Minneapolis, Minnesota area that recorded from 1956 – 1964. Here is a reproduction of their first 45 on Vee records.
I gather side ‘A’ is the instrumental ‘Basher #5’, which is a delight at three minutes long. I’m guessing that given it was recorded originally in ’61, it nods to the surf sound, and certainly the drummer is working hard throughout complementing some ace guitar work.
The ‘B’ side is ‘Baby Baby’, which many will recall from the ’57 Dale Hawkins classic version. This take by the band stands up pretty well too, well presented vocals and musically adept
Interestingly enough, the actual billing is ‘Mike Waggoner and Bops’, no definite article to describe a band from the Minneapolis, Minnesota area that recorded from 1956 – 1964. Here is a reproduction of their first 45 on Vee records.
I gather side ‘A’ is the instrumental ‘Basher #5’, which is a delight at three minutes long. I’m guessing that given it was recorded originally in ’61, it nods to the surf sound, and certainly the drummer is working hard throughout complementing some ace guitar work.
The ‘B’ side is ‘Baby Baby’, which many will recall from the ’57 Dale Hawkins classic version. This take by the band stands up pretty well too, well presented vocals and musically adept
The Poe Kats – EP review
Four tracks on orange vinyl with a well-designed picture sleeve, all hallmarks of the El Toro Record label. This release features Bobby Brant, Al Downing and Bobby Poe as well as guitarist Vernon Sandusky, and the band themselves were one of the first interracial rock n roll groups.
‘Piano Nellie’ opens up. This is a foot stomping, piano rocker, with nods to Jerry Lee Lewis’ style. Written by Poe himself, it was first released on the White Rock label as Bobby Brant and the Rhythm Rockers. ‘Rock n Roll Boogie’ isn’t the Alan Freed / Squadronaires tunes. This is a Rockabilly sound with shivering sounding vocal delivery, with added hiccups, and a frantic rhythm for it’s 1:45 minute duration.
Big Al Downing vocalised ‘Down on the Farm’. At just over a minute and a half, it could be classed as a novelty rocker, with lyrics about various animals rockin’ and rollin’ in the barnyard. A long-time mainstay on the scene this one folks. Finally, it’s ‘Rock ‘n’ Roll Record Girl’, a rolling piano based rocker with a chunk of ‘Good Golly Miss Molly’ in the middle. Cool jive beat on this one, readers
Cracking EP, well presented, and a quartet of killer tracks.
Four tracks on orange vinyl with a well-designed picture sleeve, all hallmarks of the El Toro Record label. This release features Bobby Brant, Al Downing and Bobby Poe as well as guitarist Vernon Sandusky, and the band themselves were one of the first interracial rock n roll groups.
‘Piano Nellie’ opens up. This is a foot stomping, piano rocker, with nods to Jerry Lee Lewis’ style. Written by Poe himself, it was first released on the White Rock label as Bobby Brant and the Rhythm Rockers. ‘Rock n Roll Boogie’ isn’t the Alan Freed / Squadronaires tunes. This is a Rockabilly sound with shivering sounding vocal delivery, with added hiccups, and a frantic rhythm for it’s 1:45 minute duration.
Big Al Downing vocalised ‘Down on the Farm’. At just over a minute and a half, it could be classed as a novelty rocker, with lyrics about various animals rockin’ and rollin’ in the barnyard. A long-time mainstay on the scene this one folks. Finally, it’s ‘Rock ‘n’ Roll Record Girl’, a rolling piano based rocker with a chunk of ‘Good Golly Miss Molly’ in the middle. Cool jive beat on this one, readers
Cracking EP, well presented, and a quartet of killer tracks.
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event open to our 25,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, or you run a record label or shop, you can advertise with us as well. Anything associated with our music scene, or 1940’s, 1950’s related. We will include a brief article on your company and services as well with your advert. We will be emailing many of you in this regard too.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the paypal.me button. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. If you have enjoyed the artists performing online, subscribe to their YouTube channels (John Lewis, Chris Magee from Bopflix etc), buy a CD, 45rpm, LP, download or merchandise to help them ride the storm out.
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here. Keep up to date with us here, or on our various platforms:-
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email [email protected]
Cheers 'til next month
Andrew and June
It's unlikely we will have any gigs to go to as the retsrictions on travel and gatherings are probably going to be still in place by then. We will continue to bring you CD and record reviews and our big interview is with top R&B vocalist, Lil Miss Mary
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the paypal.me button. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. If you have enjoyed the artists performing online, subscribe to their YouTube channels (John Lewis, Chris Magee from Bopflix etc), buy a CD, 45rpm, LP, download or merchandise to help them ride the storm out.
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here. Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email [email protected]
Cheers 'til next month
Andrew and June
It's unlikely we will have any gigs to go to as the retsrictions on travel and gatherings are probably going to be still in place by then. We will continue to bring you CD and record reviews and our big interview is with top R&B vocalist, Lil Miss Mary
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
