the bettajive review magazine #11
Lil Miss Mary, one of two interviews
|
John Lewis gig reviewed 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. |
|
Have you used one of these?
The Bettajive Review
Technological boogie You know something readers, technology and the computer has been part of the life of the Rock n Roll scene for many years now, and no more prominent recently, than in the Covid-19 crisis. Indeed, with the DJs and bands playing live sets and podcasts, it is probably our main source of finding out what and who is on, where, who and also what they sound like. Someone once asked me what we used to do before computers, and when we could actually go out (rhetorically). Well I’ll tell you!
Who recalls, out there in reader-land, the tickets you used to get at gigs? Those almost postcard sized tickets that were edged with pinking shears and coloured on the outer edge with pink or yellow, or blue if it was a double header. The same font and style appeared in your local paper, a once a week guide to events large and small, advertising the do. On leaving the event, you made sure you had a wad of flyers, to divi out among those who weren’t there, and needed to know about the next ones. Or Blu-Tack (other reusable putty-like pressure sensitive adhesives are available), to your wall. Cos that’s how we rolled then.
Word spread about club nights among mates, and on the phone. Indeed, some of your mates didn’t have a phone, so relied on their 2p call from a phone-box, getting the message over before the pips cut you off!! The ‘pips’ I hear you youngsters enquire? The pips were an audible sound that indicated when the caller had used up all of the paid time, and needed to insert some more money. Early ‘pay-as-you-go’ shall we say. That would be once you’d found an empty phonebox, combining a nasal bouquet of cigarette smoke, vomit and wee, with condensation and spiders. The times mates would ring up try and get the message over to their friend’s mum, who had no pad and pen ready, then swear during the ‘pips’ thinking they’d not been heard. “Ullo, us Dave, er tell Steve, right, Steve, yeah, that Rockhouse are at the Con (pip-pip-pip) oh b****x! (2p clanks in) Conservative Club on Friday!” Sound familiar? Probably not if you’re under forty.
Now with a few swishes of the fingers, and lightly caressing the screen of a touch phone, the communication, with pictures, is instantaneous. Even AT the gig, youngster’s faces are a-glow with social networks, swapping information or codswallop (other wallops are available) immediately. With the live feed option, yep, mea culpa!
Technological boogie You know something readers, technology and the computer has been part of the life of the Rock n Roll scene for many years now, and no more prominent recently, than in the Covid-19 crisis. Indeed, with the DJs and bands playing live sets and podcasts, it is probably our main source of finding out what and who is on, where, who and also what they sound like. Someone once asked me what we used to do before computers, and when we could actually go out (rhetorically). Well I’ll tell you!
Who recalls, out there in reader-land, the tickets you used to get at gigs? Those almost postcard sized tickets that were edged with pinking shears and coloured on the outer edge with pink or yellow, or blue if it was a double header. The same font and style appeared in your local paper, a once a week guide to events large and small, advertising the do. On leaving the event, you made sure you had a wad of flyers, to divi out among those who weren’t there, and needed to know about the next ones. Or Blu-Tack (other reusable putty-like pressure sensitive adhesives are available), to your wall. Cos that’s how we rolled then.
Word spread about club nights among mates, and on the phone. Indeed, some of your mates didn’t have a phone, so relied on their 2p call from a phone-box, getting the message over before the pips cut you off!! The ‘pips’ I hear you youngsters enquire? The pips were an audible sound that indicated when the caller had used up all of the paid time, and needed to insert some more money. Early ‘pay-as-you-go’ shall we say. That would be once you’d found an empty phonebox, combining a nasal bouquet of cigarette smoke, vomit and wee, with condensation and spiders. The times mates would ring up try and get the message over to their friend’s mum, who had no pad and pen ready, then swear during the ‘pips’ thinking they’d not been heard. “Ullo, us Dave, er tell Steve, right, Steve, yeah, that Rockhouse are at the Con (pip-pip-pip) oh b****x! (2p clanks in) Conservative Club on Friday!” Sound familiar? Probably not if you’re under forty.
Now with a few swishes of the fingers, and lightly caressing the screen of a touch phone, the communication, with pictures, is instantaneous. Even AT the gig, youngster’s faces are a-glow with social networks, swapping information or codswallop (other wallops are available) immediately. With the live feed option, yep, mea culpa!
My earliest computer/word processor
Computers were an enigmatic dream at school, that only the top four or five in my year (of which I was, unsurprisingly, not one) were allowed to study. These ‘slurpers’ or ‘drollers’ as they were known then, (I don’t know what the difference was) did their work on a Tuesday afternoon, which was sent to a central computer in a large town nearby, to be returned on a Brazilian rain forest’s worth of paper as a series of ‘0’s and ‘1’s. This was the future, not for ‘you boy’. Just as I left school, the computer nerds were at the point of typing in four hundred instructions to get a lightning strike over the screen. One mis-punctuation and they got the dreaded ‘syntax error’, although no one ever actually knew what it was……
My first computer, was to replace an old word processor in the late 1990’s, one even a luddite like me could use, without being a ‘droller’ or a ‘slurper’. I’m clueless where computers are concerned, when compared to your average 10 year old, which was about the age of the shop assistant blinding me with science back then. He asked what type of computer I had been using, to which I replied, “A white one”. ‘Well, buy this grey one, they’re loads better’ he replied. Sold to the yayhoo in the blue jeans with the turn ups.
So along came the dial up internet, and tying up the phone line while you were using it, getting emails from people saying they were trying to call you was a regular occurrence. With broadband, the availability for endless access to the net brought along a revelation for us, YouTube. Now for the music fan, this can be the biggest waste of time without you realising it, but also the most fascinating journey through your preferred music. On the side panel of the screen, are other suggestions to view, usually related to your choice. So how come Jethro-bloody-Tull appeared? And how come I know the words to ‘Witches Promise’? And the mature woman who wants a date, still keeps getting closer to where I live, and she was always called ‘Rebecca’.
Downloading our music onto the tiniest of players, or mobile phones, marvels me. What doesn’t, is when you walk down the street and two girls, taller than me, which most of them are, come in the opposite direction, sharing an earpiece connected to one such device. So, you have a V shaped garrotte, wiping you out just below the chin like a John Bradshaw Layfield clothesline!
Do you remember, readers of a certain age, going into the chemists, walking around trying not to catch the assistant’s eye, picking up miscellaneous tissues, diarrhoea remedies and laxatives before approaching the counter?* The assistant, usually one of the opposite sex, looked at you knowingly. “Are you sure this is all you came in for today?” You’ve been rumbled, and then whispering in a low voice, say. “I’ve come to collect my photos”.
Yes, younger reader, this sounds crazy doesn’t it, we had to wait for our photos, for a week or so, and suspect the staff had had an opportunity to peek at them. Now we point a camera at our subject in a hall or on stage, and the subject wants to see the result straight away. Even the ubiquitous mobile phone can not only take photos, but video as well. Ahh video, there’s a word.
Back in the late 1970’s, my mate’s parents, were among the first in my home town to get a video (VCR), and I went round to see the recording of a segment of ‘Nationwide’, which was a magazine program that followed the early evening news from 1969-83. They were having a feature on the anniversary of the death of Eddie Cochran. There in the corner under the telly was a silver monster, into the jaws of which he put a book sized hunk of plastic, and snapped shut aggressively. There was Eddie playing Twenty Flight Rock, from the ‘Girl Can’t Help It’ with various salutations from the commentators. And hey, he could make him go backwards, and watch again! Now again with YouTube, you can watch Eddie as many times as you like, and ain’t it grand!
Technology has revolutionised life in general, and effected sweeping changes on our music scene, that is basically set in the fifties. Some good, some bad, and Lord knows where it will end up. Even me, that ‘you boy’ that wasn’t allowed to even look into the computer studies room as secondary school, built this website from the ground up seven years ago. Everyone can keep up with their friends, watch their favourite artists play live, or recorded live, upload a show, play music to their contacts, upload pics, soundclips, records, you name it. If Covid had have happened a few years ago, imagine how quickly you’d use up 100 minutes and 100 texts
*Oh, anyone got a use for ten slightly out of date boxes of laxative, actually, better not take them, they might give you the……….
My first computer, was to replace an old word processor in the late 1990’s, one even a luddite like me could use, without being a ‘droller’ or a ‘slurper’. I’m clueless where computers are concerned, when compared to your average 10 year old, which was about the age of the shop assistant blinding me with science back then. He asked what type of computer I had been using, to which I replied, “A white one”. ‘Well, buy this grey one, they’re loads better’ he replied. Sold to the yayhoo in the blue jeans with the turn ups.
So along came the dial up internet, and tying up the phone line while you were using it, getting emails from people saying they were trying to call you was a regular occurrence. With broadband, the availability for endless access to the net brought along a revelation for us, YouTube. Now for the music fan, this can be the biggest waste of time without you realising it, but also the most fascinating journey through your preferred music. On the side panel of the screen, are other suggestions to view, usually related to your choice. So how come Jethro-bloody-Tull appeared? And how come I know the words to ‘Witches Promise’? And the mature woman who wants a date, still keeps getting closer to where I live, and she was always called ‘Rebecca’.
Downloading our music onto the tiniest of players, or mobile phones, marvels me. What doesn’t, is when you walk down the street and two girls, taller than me, which most of them are, come in the opposite direction, sharing an earpiece connected to one such device. So, you have a V shaped garrotte, wiping you out just below the chin like a John Bradshaw Layfield clothesline!
Do you remember, readers of a certain age, going into the chemists, walking around trying not to catch the assistant’s eye, picking up miscellaneous tissues, diarrhoea remedies and laxatives before approaching the counter?* The assistant, usually one of the opposite sex, looked at you knowingly. “Are you sure this is all you came in for today?” You’ve been rumbled, and then whispering in a low voice, say. “I’ve come to collect my photos”.
Yes, younger reader, this sounds crazy doesn’t it, we had to wait for our photos, for a week or so, and suspect the staff had had an opportunity to peek at them. Now we point a camera at our subject in a hall or on stage, and the subject wants to see the result straight away. Even the ubiquitous mobile phone can not only take photos, but video as well. Ahh video, there’s a word.
Back in the late 1970’s, my mate’s parents, were among the first in my home town to get a video (VCR), and I went round to see the recording of a segment of ‘Nationwide’, which was a magazine program that followed the early evening news from 1969-83. They were having a feature on the anniversary of the death of Eddie Cochran. There in the corner under the telly was a silver monster, into the jaws of which he put a book sized hunk of plastic, and snapped shut aggressively. There was Eddie playing Twenty Flight Rock, from the ‘Girl Can’t Help It’ with various salutations from the commentators. And hey, he could make him go backwards, and watch again! Now again with YouTube, you can watch Eddie as many times as you like, and ain’t it grand!
Technology has revolutionised life in general, and effected sweeping changes on our music scene, that is basically set in the fifties. Some good, some bad, and Lord knows where it will end up. Even me, that ‘you boy’ that wasn’t allowed to even look into the computer studies room as secondary school, built this website from the ground up seven years ago. Everyone can keep up with their friends, watch their favourite artists play live, or recorded live, upload a show, play music to their contacts, upload pics, soundclips, records, you name it. If Covid had have happened a few years ago, imagine how quickly you’d use up 100 minutes and 100 texts
*Oh, anyone got a use for ten slightly out of date boxes of laxative, actually, better not take them, they might give you the……….
|
|
|
Dot…dot. Best tracks in the world ever ever to whip your meringue into stiff peaks are ‘Little Girl’ by Frankie Lymon, Little Walter’s ‘Boom Boom, Out Go the Lights’ and ‘Twangy’ by the Jet Tones……..Sad git moment of the month, must be seeing old TOTP shows on telly, and finding yourself trying to hit the falsetto ‘Ba De Ya’s in Earth Wind and Fire’s ‘September’, I blame the youth centre!! (it happened to a friend by the way!) .....Tambourines at gigs eh? They were the instrument you got at school when the teacher asked (you boy) what you’d like to play. ‘Saxaphone Sir’. “Wrong answer boy, here’s a tambourine”. I thought they’d been consigned to my history, but………. :/ However I’d like that to be the only problem we encounter at the moment…….
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
Cat Talk Lee (pic by Tracy/Abby Russell)
Still stuck. So here we all are, devoid of any live gigs, no squashing in halls and socialising in a Rock n Roll stylie. Kudos then to those who are persevering with their online shows to keep everyone entertained.
As lockdown eased somewhat (at the time of writing), so the personnel at Thee Vanessa Holmes show increased, as has the interaction with the rest of the internet. Several hours of banter and top tunes from Flat Top Dave Phillips.
Over in Norfolk, Rockin Roland played two particularly nostalgic sessions featuring as many of the acts that played the Starfighter Rock n Roll club over it’s fifteen year tenure. The list read like a who’s who of quality bands that have graced our scene, as well as a few original artists. Charlie Gracie, Ray Campi, Vince Eager and Gene Summers, slotted in among acts like Jack Rabbit Slim, The Slingshots, The Skiprats, The Metrotones, Little Esther and Rumblebeat, The Tinstars, Vince and the Sun Boppers, Phil Haley and his Comments, The Blueflames, Rusty Pinto, Jack Baymoore and the Bandits, The Stargazers, Mischief!, John Lewis (various guises) and Rusti Steel and the Star Tones, to mention but a few. Some fantastic memories of a great club that hopefully will rise again after Covid.
Down in the valleys, Simon Flintstone’s jack-in-the-box approach, starting shows spontaneously, has been ace. Never more has the opening lines of ‘Stack o Records’ applied better to his broadcasting room. And there’s some corking tunes to be heard. Similarly, although now ending in his Thursday afternoon slot, Lee Russell’s ‘Cat Talk Lee’ broadcast has been super-cool. A lot of the stuff he played put us in mind of the Jukebox club in Witham Essex, more years ago than most of us care to recall!!
Take in the likes of consistently proficient DJs like Steph Brian, Bradford Dude, Andy Robinson, Andy Munday, Adrian Waters, Jay Cee (in France), Mark Bale, the ubiquitous Danny Brown and Claire (Voodoo Doll) Austin, and you have a pretty good line up.
As lockdown eased somewhat (at the time of writing), so the personnel at Thee Vanessa Holmes show increased, as has the interaction with the rest of the internet. Several hours of banter and top tunes from Flat Top Dave Phillips.
Over in Norfolk, Rockin Roland played two particularly nostalgic sessions featuring as many of the acts that played the Starfighter Rock n Roll club over it’s fifteen year tenure. The list read like a who’s who of quality bands that have graced our scene, as well as a few original artists. Charlie Gracie, Ray Campi, Vince Eager and Gene Summers, slotted in among acts like Jack Rabbit Slim, The Slingshots, The Skiprats, The Metrotones, Little Esther and Rumblebeat, The Tinstars, Vince and the Sun Boppers, Phil Haley and his Comments, The Blueflames, Rusty Pinto, Jack Baymoore and the Bandits, The Stargazers, Mischief!, John Lewis (various guises) and Rusti Steel and the Star Tones, to mention but a few. Some fantastic memories of a great club that hopefully will rise again after Covid.
Down in the valleys, Simon Flintstone’s jack-in-the-box approach, starting shows spontaneously, has been ace. Never more has the opening lines of ‘Stack o Records’ applied better to his broadcasting room. And there’s some corking tunes to be heard. Similarly, although now ending in his Thursday afternoon slot, Lee Russell’s ‘Cat Talk Lee’ broadcast has been super-cool. A lot of the stuff he played put us in mind of the Jukebox club in Witham Essex, more years ago than most of us care to recall!!
Take in the likes of consistently proficient DJs like Steph Brian, Bradford Dude, Andy Robinson, Andy Munday, Adrian Waters, Jay Cee (in France), Mark Bale, the ubiquitous Danny Brown and Claire (Voodoo Doll) Austin, and you have a pretty good line up.
With that in mind Nigel Babb’s Lockdown DJ Jamboree, Rockin’ Party put up a selection of DJs on tip top form. The Marzianos (Carrie and Salv) and Danny Brown, three of the younger ones hitting the high spots with the best of today’s dancefloor (when we can get on them again!) sounds. Domino and Mr Jinx, some cracking R&B among their selections, Fifties Tash, smashing Old Skool (with the ‘k’ round the wrong way), and of course the uber-dependable Tojo playing across the board.
Good on Nigel for putting this together, he has another on the 22nd August. With no hope of gigs as we remember them, anytime soon, it’s shows like these and the ones detailed above, that keep us in touch with the music we love. Even with the mirror images that make everything look backwards, some awful accompanying singing by some…., 😊 the back of people’s heads and the annoying red light cut offs……
Good on Nigel for putting this together, he has another on the 22nd August. With no hope of gigs as we remember them, anytime soon, it’s shows like these and the ones detailed above, that keep us in touch with the music we love. Even with the mirror images that make everything look backwards, some awful accompanying singing by some…., 😊 the back of people’s heads and the annoying red light cut offs……
John Lewis in action in 2019
Go Curly. Another standard on Sunday, is the Real John Lewis show. John with a variety of guitars and boot-heel percussion, along with virtual banter with the audience scrolling by on the internet. Requests aplenty arrive during the week and they’re delivered with the usual accomplishment by John. This particular show, we had the tribute to Mac Curtis ‘Flat Top Cat’, and Webb Pierce’s ‘Shanghaied’, which is a real foot stomper from 1959 (the flip to ‘I Ain’t Never’).
A ballad followed, one of John’s own, on the ‘B’ side of ‘One More Beer’. This was ‘I Hope My Brain Still Works the Same’. Next up, a stripped-down version of Willie Nelson’s ‘It’s Going To Pot’, a duet Willie Nelson recorded in 2015, with Merle Haggard, and not just a tinge of irony after four months of lockdown. ‘Ice Cold Baby’ kicked butt, and naturally we had to have some Hank Williams, this time in the shape of ‘Move It On Over’, and the ever popular ‘Ramblin’ Man’.
Changing guitars (instead of retuning) for some super blues slide in a ‘Can’t Be Satisfied’ Muddy Waters stylie. You gotta double-dig this, readers. And what about the tip, tuning to an open ‘G’ which allows the player to play ‘Cat Squirrel’ using one fretting finger. ‘Chills and Fever’? Yes please, and we ended with Jimmy Liggins ‘Drunk’ which topped off another fine show. Do the lad a favour and subscribe to his YouTube channel https://www.youtube.com/user/rockingroots
A ballad followed, one of John’s own, on the ‘B’ side of ‘One More Beer’. This was ‘I Hope My Brain Still Works the Same’. Next up, a stripped-down version of Willie Nelson’s ‘It’s Going To Pot’, a duet Willie Nelson recorded in 2015, with Merle Haggard, and not just a tinge of irony after four months of lockdown. ‘Ice Cold Baby’ kicked butt, and naturally we had to have some Hank Williams, this time in the shape of ‘Move It On Over’, and the ever popular ‘Ramblin’ Man’.
Changing guitars (instead of retuning) for some super blues slide in a ‘Can’t Be Satisfied’ Muddy Waters stylie. You gotta double-dig this, readers. And what about the tip, tuning to an open ‘G’ which allows the player to play ‘Cat Squirrel’ using one fretting finger. ‘Chills and Fever’? Yes please, and we ended with Jimmy Liggins ‘Drunk’ which topped off another fine show. Do the lad a favour and subscribe to his YouTube channel https://www.youtube.com/user/rockingroots
Les on stage
Unplugged. Sometimes readers, it’s the most basic things that are among the most effective. Take the acoustic guitar for example, a few chords, and away you go.
Most recently, we’ve seen a couple of vids by Les Prendergast (LP and his Dirty White Bucks) presenting Elvis’ ‘Don’t Be Cruel’, his take on Bill Flagg’s train-beat ‘I’m So Lonely’ and Wilbert Harrison’s ‘Kansas City’, all from his man cave. No mahoosive sound systems and amps, just a voice and six strings. Top stuff
Most recently, we’ve seen a couple of vids by Les Prendergast (LP and his Dirty White Bucks) presenting Elvis’ ‘Don’t Be Cruel’, his take on Bill Flagg’s train-beat ‘I’m So Lonely’ and Wilbert Harrison’s ‘Kansas City’, all from his man cave. No mahoosive sound systems and amps, just a voice and six strings. Top stuff
|
Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio. |
|
interview with delta 88
Interview with Delta 88
Devon based Rockabilly trio, recently released their third album ‘Bad and Beautiful’ on Western Star Records (see our review in issue #10). Curiously in their five year existence, we have yet to see them play live, so in anticipation of that, (once Covid 19 is a memory) we thought an interview was in order. Photographs and accompanying artwork supplied by the band for use in this article
BJR. Let’s start with the introductions, who are Delta 88?
D88. We are Simon Clews on guitar and vocals, Nikki Clews on drums and vocals and Julian Wood on upright bass and backing vocals.
Devon based Rockabilly trio, recently released their third album ‘Bad and Beautiful’ on Western Star Records (see our review in issue #10). Curiously in their five year existence, we have yet to see them play live, so in anticipation of that, (once Covid 19 is a memory) we thought an interview was in order. Photographs and accompanying artwork supplied by the band for use in this article
BJR. Let’s start with the introductions, who are Delta 88?
D88. We are Simon Clews on guitar and vocals, Nikki Clews on drums and vocals and Julian Wood on upright bass and backing vocals.
Delta 88 on stage (pic by Tony Bruce)
BJR. For those who are not familiar with Delta 88? What are your backgrounds (i.e. how did you get into Rock n Roll etc?)
Julian: I first heard Rock n Roll being played by the likes of 'C.S.A' and 'The Flying saucers' at a pub called the Tigers Head in Lee Green, near Lewisham. My elder sister used to sneak me in as I was pretty young at the time. - excited by what I saw and heard, I bought my first 1957 Ford consul when I was 16. I wasn't even old enough to drive it!
Further down the line I was listening to post Punk Rockabilly/ psychobilly bands like Restless, The Deltas etc. I remember seeing an early Stray Cats gig at the Marquee on Wardour Street. I can tell you, it was a pretty small venue and it was absolutely rammed! It was loud and raw, with sweat running down the walls. Full on! I would say that was the moment that cemented my love of Rockabilly, It also made me listen to the original music of the 50's that inspired those bands.
I have to say, my musical tastes have varied over the years - AC/DC, The Cult, Stone Roses (never been a big fan of Disco/Funk stuff) but my heart has always been in Rockabilly with that life changing Stray Cats gig at Wardour Street.
Simon: I didn’t have a rock n roll upbringing but I heard it on the radio when I was very young. It didn’t matter to me that it had been recorded many years earlier. In my teens I started getting into contemporary music and I started to read a lot about the history of music. That took me into 60s music first and then 50’s stuff. I never knew there was a rock n roll or rockabilly scene until years later though.
Nikki: It was my nan who introduced me to Elvis Presley and then I started to discover rock n roll from there. She loved musicals and had a few Elvis movie soundtracks on vinyl. I used to dance around her house singing and acting out the parts when I was around 8 years old, as well as watching the movies on the TV during the school holidays!
BJR. What lead to the formation of the band?
Nikki: Simon and I had been playing in another band, playing mainly covers, which had split up. We really wanted to form a rockabilly band but didn’t know any upright bass players that were available. So, in early 2014 we advertised on a card in the window of a vintage shop in Exeter. A few weeks later, Julian got in touch, came round to our house for a chat in his Delta 88 (1956 Oldsmobile) and the band was formed!
BJR. You’re known on social media as Delta 88 Rockabilly, so who were your influences (past artists and present)
D88. The reason we added the word ‘rockabilly’ to our social media was to avoid confusion because there were a few Delta 88 car pages and later we found there was a punk band with the same name too.
Simon: Our main influences are Carl Perkins, Charlie Feathers, Buddy Holly, Scotty Moore, Brian Setzer, Lonnie Donegan and Johnny Burnette. We don’t try to sound like them though, we have our own sound. We enjoy music from other eras too so there are elements of blues, rock and country too. We draw on movies, TV shows, historical events, modern life and my weird imagination!
Julian: I first heard Rock n Roll being played by the likes of 'C.S.A' and 'The Flying saucers' at a pub called the Tigers Head in Lee Green, near Lewisham. My elder sister used to sneak me in as I was pretty young at the time. - excited by what I saw and heard, I bought my first 1957 Ford consul when I was 16. I wasn't even old enough to drive it!
Further down the line I was listening to post Punk Rockabilly/ psychobilly bands like Restless, The Deltas etc. I remember seeing an early Stray Cats gig at the Marquee on Wardour Street. I can tell you, it was a pretty small venue and it was absolutely rammed! It was loud and raw, with sweat running down the walls. Full on! I would say that was the moment that cemented my love of Rockabilly, It also made me listen to the original music of the 50's that inspired those bands.
I have to say, my musical tastes have varied over the years - AC/DC, The Cult, Stone Roses (never been a big fan of Disco/Funk stuff) but my heart has always been in Rockabilly with that life changing Stray Cats gig at Wardour Street.
Simon: I didn’t have a rock n roll upbringing but I heard it on the radio when I was very young. It didn’t matter to me that it had been recorded many years earlier. In my teens I started getting into contemporary music and I started to read a lot about the history of music. That took me into 60s music first and then 50’s stuff. I never knew there was a rock n roll or rockabilly scene until years later though.
Nikki: It was my nan who introduced me to Elvis Presley and then I started to discover rock n roll from there. She loved musicals and had a few Elvis movie soundtracks on vinyl. I used to dance around her house singing and acting out the parts when I was around 8 years old, as well as watching the movies on the TV during the school holidays!
BJR. What lead to the formation of the band?
Nikki: Simon and I had been playing in another band, playing mainly covers, which had split up. We really wanted to form a rockabilly band but didn’t know any upright bass players that were available. So, in early 2014 we advertised on a card in the window of a vintage shop in Exeter. A few weeks later, Julian got in touch, came round to our house for a chat in his Delta 88 (1956 Oldsmobile) and the band was formed!
BJR. You’re known on social media as Delta 88 Rockabilly, so who were your influences (past artists and present)
D88. The reason we added the word ‘rockabilly’ to our social media was to avoid confusion because there were a few Delta 88 car pages and later we found there was a punk band with the same name too.
Simon: Our main influences are Carl Perkins, Charlie Feathers, Buddy Holly, Scotty Moore, Brian Setzer, Lonnie Donegan and Johnny Burnette. We don’t try to sound like them though, we have our own sound. We enjoy music from other eras too so there are elements of blues, rock and country too. We draw on movies, TV shows, historical events, modern life and my weird imagination!
BJR. You produce a lot of your own material, original compositions. Who is the main songwriter in the band or is it equal among the three of you?
Simon: I do most of the song writing. When I get to the point that I am happy with a song I usually record a demo and then the others get involved with their ideas. Sometimes this is painless and other times we make a lot of changes but it’s really important that we’re all happy with the songs and it’s good for quality control too!
BJR. Nikki, you’re a stand-up drummer, how did that come about? Did you learn the drums in the ‘conventional’ way?
Nikki: I started playing drums and percussion at school when I was 11 years old. I think I really joined the school band to get out of sports! I was in the orchestra playing timpani and percussion, then I joined the school swing band. So, I did learn the “conventional” way. However, I thought that cocktail kits looked great and they save space both on stage and when transporting them around. Standing up allows me more freedom and I really feel part of the band, rather than being hidden at the back.
BJR. Simon and Julian, when did you choose you instruments, or did they ‘choose you’?
Simon: I bought my first acoustic guitar when I was a student in Liverpool. It was cheap and unplayable. I was what they call ‘an angry young man’ at the time and I wanted to be the next Bob Dylan. I started writing songs as soon as I knew three chords and my first gig was a solo performance in a pub in Birmingham.
Julian: I bought an old 1950s upright bass at an antiques fair but did nothing with it for a while. I started playing at home and then I saw the advert and the rest is history! I was actually a guitarist first, and played in a psychobilly band called ‘Sober as a Judge’ in the 1980s.
BJR. Your most recent album, you describe as a mini album. Was that a conscious decision?
Nikki: Alan Wilson, of Western Star Records, has been releasing a series of limited edition 10-inch vinyl “mini-albums”, which are quite collectable. The 10-inch format allows for around 6 songs. Before our two CD releases, we had released an EP of four songs back in 2016 and really wanted to put something out on vinyl again. So, this seemed a great opportunity. We went into the studio in February 2020 to record the 6 tracks, just in time prior to lockdown. Bad and Beautiful was the result and we are delighted with it.
BJR. What’s next for Delta 88? (Readers be aware that this interview was conducted during the Covid 19 restrictions)
D88. Hopefully we will get the chance to promote our new vinyl album and play the tracks live in the not too distant future. All of our gigs since March 2020 have been cancelled or rescheduled, so we already have a very busy diary for 2021! We couldn’t even rehearse during lockdown but we are writing more new songs and are really excited about the stuff we’re working on.
Simon: I do most of the song writing. When I get to the point that I am happy with a song I usually record a demo and then the others get involved with their ideas. Sometimes this is painless and other times we make a lot of changes but it’s really important that we’re all happy with the songs and it’s good for quality control too!
BJR. Nikki, you’re a stand-up drummer, how did that come about? Did you learn the drums in the ‘conventional’ way?
Nikki: I started playing drums and percussion at school when I was 11 years old. I think I really joined the school band to get out of sports! I was in the orchestra playing timpani and percussion, then I joined the school swing band. So, I did learn the “conventional” way. However, I thought that cocktail kits looked great and they save space both on stage and when transporting them around. Standing up allows me more freedom and I really feel part of the band, rather than being hidden at the back.
BJR. Simon and Julian, when did you choose you instruments, or did they ‘choose you’?
Simon: I bought my first acoustic guitar when I was a student in Liverpool. It was cheap and unplayable. I was what they call ‘an angry young man’ at the time and I wanted to be the next Bob Dylan. I started writing songs as soon as I knew three chords and my first gig was a solo performance in a pub in Birmingham.
Julian: I bought an old 1950s upright bass at an antiques fair but did nothing with it for a while. I started playing at home and then I saw the advert and the rest is history! I was actually a guitarist first, and played in a psychobilly band called ‘Sober as a Judge’ in the 1980s.
BJR. Your most recent album, you describe as a mini album. Was that a conscious decision?
Nikki: Alan Wilson, of Western Star Records, has been releasing a series of limited edition 10-inch vinyl “mini-albums”, which are quite collectable. The 10-inch format allows for around 6 songs. Before our two CD releases, we had released an EP of four songs back in 2016 and really wanted to put something out on vinyl again. So, this seemed a great opportunity. We went into the studio in February 2020 to record the 6 tracks, just in time prior to lockdown. Bad and Beautiful was the result and we are delighted with it.
BJR. What’s next for Delta 88? (Readers be aware that this interview was conducted during the Covid 19 restrictions)
D88. Hopefully we will get the chance to promote our new vinyl album and play the tracks live in the not too distant future. All of our gigs since March 2020 have been cancelled or rescheduled, so we already have a very busy diary for 2021! We couldn’t even rehearse during lockdown but we are writing more new songs and are really excited about the stuff we’re working on.
Pic by Tony Bruce
BJR. How can people get in touch with the band?
D88. You can check out our website – www.delta88.co.uk and we are also on Facebook and Instagram as ‘Delta88rockabilly’. Our CDs and vinyl can be bought from Western Star (www.western-star.co.uk) and you can listen to us on Spotify and Amazon etc. Various videos of us are on YouTube. If all else fails, call us on 07967 123623. We really love to get feedback, we have had messages from people all around the world who say they have discovered Delta 88 and enjoy our music.
D88. You can check out our website – www.delta88.co.uk and we are also on Facebook and Instagram as ‘Delta88rockabilly’. Our CDs and vinyl can be bought from Western Star (www.western-star.co.uk) and you can listen to us on Spotify and Amazon etc. Various videos of us are on YouTube. If all else fails, call us on 07967 123623. We really love to get feedback, we have had messages from people all around the world who say they have discovered Delta 88 and enjoy our music.
|
|
All records and CDs contained in these reviews, can be purchased at the dealers above. Click on the logos to take you to their sale sites
cd reviews
FTM In The Groove – Part Five
CD review
Here we are with the fifth issue of the immensely popular ‘In The Groove’ series from Flat Top Mark Phillips. Volumes 1-4 had certainly set the bar high, and Vol 5 certainly doesn’t disappoint. As usual, Mark has dug into the vaults and goes places where many would fear to tread to unearth these nuggets of musical curio, and in some cases given them his own twist.
Taking the opener as a perfect example, Mickey Lee Lane’s ‘Hey Sah-Lo-Ney’ from 1965-66 on Swan Records. This version is an unissued cut at five- and three-quarter minutes long, which Mark tells us was too long to put on a 45, so here it is in it’s entirety. This track has gained in popularity along with Lane’s ‘Senior Class’ and ‘The Zoo’ as dancefloor winners.
Next up, another unissued cut, this time from Dragster. Many will recall this band from a few years ago, members of the Blueflames along with Stephen Arlie of The Arousers. This track is billed as ‘Mollis Chambers’, and is a cover of the Kings of Leon’s ‘Molly’s Chambers’ from 2003. It differs from the FTM single, which has a different intro and sound. Whichever you choose, it’s a powerhouse track.
Track three, the Lazy Rebels’ ‘Lazy River’ was included after Mark heard Crazy Frambi played it on one of her Facebook live sets. It’s listed as ‘Lazy Rebel’ on the 1965 single by the band that has ‘Rebel Rouser’ on the ‘A’ side. This is a cool stroller, that I’ll be honest I’m surprised we haven’t heard a lot of before. Next up is Gene Stridel’s Popcorn sounding ‘Let Her Go’, from 1962, with his impassioned vocal style set to a stroll beat.
We are all familiar with Larry Williams’ ‘Slow Down’. Here it’s given a different, more sixties beat vibe by Mal Ryder, who recorded it with the Spirits, in 1964. As with all of the In The Groove series, there’s always a surprise or an introduction to someone you’re not familiar with. Such is the case with Carmol Taylor, a honky tonk piano player who was massively successful as a song writer. Here he’s performing ‘Back in the USA’, which is close to the Jerry Lee Lewis piano style, erring on Country music in a heavenly three and a quarter minutes.
Vince Everett, Elvis’ character in Jailhouse Rock, was the stage name taken by Marvin Benefield. Here he is singing his own composition ‘Don’t Go’ which was the flip to ‘Such a Night’ from 1962. Cool beans, this one readers. The Super Super Blues Band, consisted of as good a trio of Blues performers as you’d like to hear, Bo Diddley, Muddy Waters and Howlin’ Wolf. FTM says he has DJ Alex Hope to thank for the alert to ‘You Don’t Love Me’, from the 1967 album ‘Long Distance Call’ which Mark mixed added zing to.
Boozoo Chavis (1930-2001) was one of the pioneers of the Zydeco sound, mixing Cajun with Blues. ‘Zydeco Hee Haw’ is a foot stomping, whistling, diatonic accordion beauty, the lyrics of which are limited to the bare minimum, which only serves to enhance this wonderful track. Those familiar with ‘Hee Haw Breakdown’ will love this with ‘brass knobs on’! A surfy instro follows that, this is ‘Seagrams’ by the Viceroys, who cut this as a ‘B’ side in 1962. Another kickin’ instro follows with the Cherokees’ ‘Uprisin’, one that’s `among the late-night jive go-to’s in many a DJ box. Double delights readers.
Ok, here’s a curio for you in the shape of ‘Big O Ago Go’ billed as Roy Goes To Hollywood. This is the amalgamation of two records mixed together by Mark, opening with the Andy Williams intro of ‘Can’t Take My Eyes Off You’, that morphs into Orbison’s ‘In Dreams’ combined with the Hollywood Persuaders’ ‘Hollywood Ago Go’ from 1965 which is very much like ‘Pretty Woman’. Are you following this, readers? Long and short of it, Roy Orbison meets FTM’s mix machine.
More ‘Ago go-ing’ next with Hal Blaine’s ‘Drums Ago go’ from 1965. Blaine was a session musician, apparently among the most recorded studio drummers of all time. This tune sounds very much like the Kinks’ ‘All Day and All of the Night’. The Isley Brothers ‘Say You Love Me Too’, from 1960. Most people think of ‘Shout’ ahead of anything else, but the band were performing as early as 1954. Here I’d suggest they are channelling Jackie Wilson with the vocal style on this track, lots of ‘brrrrr’s and high falsetto vocals, against an almost gospel backing.
‘Morse Code of Love’, ah yes, the Capris. Er, no, not on this record, but a version by the Van-Dells. Every bit of the vocal quality of the Capris, the Van Dells call on their 40+ years of experience to produce a vocal masterpiece. Billy Brown’s ‘Look Out Heart’ was written by Clyde Pitts and recorded by Brown in 1961. Here is one of those artists who can easily sing country or Rockabilly, and this tune is a pleasure to listen to, great bass-y guitar solo and well delivered vocals.
Many of us have heard quite enough of ‘This Train’ recently, however, do not despair folks, this is a cracking version from Gerry Lockran, who had this on the flip of a cover of ‘Hey Jude’ from 1969. More from the Super Super Blues Band, and ‘Long Distance Call’ the title track from the album, that gave us the other track on this release. This features Howlin’ Wolf’s vocals, to a beat not unlike ‘Smokestack Lightning’. What’s not to like?
Bo Diddley’s ‘Catch This Train’ is a FTM mix. In the mid-90’s ‘Please Mister Engineer’ featured on a CD of Bo’s rare stuff. Here, I have to say, is four and a bit minutes of sheer poetry, set to the classic McDaniel beat. The track was released on a (very) limited mono 45rpm press by FTM, this is a stereo cut and only available on this CD. Worth the cover price alone!!
‘Little Romance’ was the debut single for Minnesota band the Underbeats. Hearing this you can appreciate the Chuck Berry influence, so it wasn’t a great surprise when researching the song, I note that the ‘B’ side was ‘Broken Arrow’, by……Chuck Berry. Roy Hamilton has a fantastically smooth and powerful Gospel-like voice. ‘If Only I’d Have Known’ was a ‘B’ side from 1962, and it’s sublime. That’s followed by the Grandisons’ ‘Allright’ from ’63, a zippy call and answer ‘hey hey hey hey’ sound. Apparently, they were a favourite of Lonnie Donegan, but chart success eluded them.
We’re near the end now readers, and it’s a party time instrumental from the Fabulous Majestics, ‘Somethin’ Else’ from ’63. Cool guitar riffs offset by sax and what sounds like a pretty fun party in the background. FTM then fades out with his own jingle, which is a melting pot of various songs and tunes, that you can work out for yourselves 😊
Well, hopefully that will give you an insight into the quality on this CD. Compilers sometimes run out of decent material to put on compilation series, but this can never be levelled at FTM. There are some real peaches amongst this selection, stuff we’d not heard before, and appreciate being introduced to, as will you.
Great addition for completists and for first timers alike!
CD review
Here we are with the fifth issue of the immensely popular ‘In The Groove’ series from Flat Top Mark Phillips. Volumes 1-4 had certainly set the bar high, and Vol 5 certainly doesn’t disappoint. As usual, Mark has dug into the vaults and goes places where many would fear to tread to unearth these nuggets of musical curio, and in some cases given them his own twist.
Taking the opener as a perfect example, Mickey Lee Lane’s ‘Hey Sah-Lo-Ney’ from 1965-66 on Swan Records. This version is an unissued cut at five- and three-quarter minutes long, which Mark tells us was too long to put on a 45, so here it is in it’s entirety. This track has gained in popularity along with Lane’s ‘Senior Class’ and ‘The Zoo’ as dancefloor winners.
Next up, another unissued cut, this time from Dragster. Many will recall this band from a few years ago, members of the Blueflames along with Stephen Arlie of The Arousers. This track is billed as ‘Mollis Chambers’, and is a cover of the Kings of Leon’s ‘Molly’s Chambers’ from 2003. It differs from the FTM single, which has a different intro and sound. Whichever you choose, it’s a powerhouse track.
Track three, the Lazy Rebels’ ‘Lazy River’ was included after Mark heard Crazy Frambi played it on one of her Facebook live sets. It’s listed as ‘Lazy Rebel’ on the 1965 single by the band that has ‘Rebel Rouser’ on the ‘A’ side. This is a cool stroller, that I’ll be honest I’m surprised we haven’t heard a lot of before. Next up is Gene Stridel’s Popcorn sounding ‘Let Her Go’, from 1962, with his impassioned vocal style set to a stroll beat.
We are all familiar with Larry Williams’ ‘Slow Down’. Here it’s given a different, more sixties beat vibe by Mal Ryder, who recorded it with the Spirits, in 1964. As with all of the In The Groove series, there’s always a surprise or an introduction to someone you’re not familiar with. Such is the case with Carmol Taylor, a honky tonk piano player who was massively successful as a song writer. Here he’s performing ‘Back in the USA’, which is close to the Jerry Lee Lewis piano style, erring on Country music in a heavenly three and a quarter minutes.
Vince Everett, Elvis’ character in Jailhouse Rock, was the stage name taken by Marvin Benefield. Here he is singing his own composition ‘Don’t Go’ which was the flip to ‘Such a Night’ from 1962. Cool beans, this one readers. The Super Super Blues Band, consisted of as good a trio of Blues performers as you’d like to hear, Bo Diddley, Muddy Waters and Howlin’ Wolf. FTM says he has DJ Alex Hope to thank for the alert to ‘You Don’t Love Me’, from the 1967 album ‘Long Distance Call’ which Mark mixed added zing to.
Boozoo Chavis (1930-2001) was one of the pioneers of the Zydeco sound, mixing Cajun with Blues. ‘Zydeco Hee Haw’ is a foot stomping, whistling, diatonic accordion beauty, the lyrics of which are limited to the bare minimum, which only serves to enhance this wonderful track. Those familiar with ‘Hee Haw Breakdown’ will love this with ‘brass knobs on’! A surfy instro follows that, this is ‘Seagrams’ by the Viceroys, who cut this as a ‘B’ side in 1962. Another kickin’ instro follows with the Cherokees’ ‘Uprisin’, one that’s `among the late-night jive go-to’s in many a DJ box. Double delights readers.
Ok, here’s a curio for you in the shape of ‘Big O Ago Go’ billed as Roy Goes To Hollywood. This is the amalgamation of two records mixed together by Mark, opening with the Andy Williams intro of ‘Can’t Take My Eyes Off You’, that morphs into Orbison’s ‘In Dreams’ combined with the Hollywood Persuaders’ ‘Hollywood Ago Go’ from 1965 which is very much like ‘Pretty Woman’. Are you following this, readers? Long and short of it, Roy Orbison meets FTM’s mix machine.
More ‘Ago go-ing’ next with Hal Blaine’s ‘Drums Ago go’ from 1965. Blaine was a session musician, apparently among the most recorded studio drummers of all time. This tune sounds very much like the Kinks’ ‘All Day and All of the Night’. The Isley Brothers ‘Say You Love Me Too’, from 1960. Most people think of ‘Shout’ ahead of anything else, but the band were performing as early as 1954. Here I’d suggest they are channelling Jackie Wilson with the vocal style on this track, lots of ‘brrrrr’s and high falsetto vocals, against an almost gospel backing.
‘Morse Code of Love’, ah yes, the Capris. Er, no, not on this record, but a version by the Van-Dells. Every bit of the vocal quality of the Capris, the Van Dells call on their 40+ years of experience to produce a vocal masterpiece. Billy Brown’s ‘Look Out Heart’ was written by Clyde Pitts and recorded by Brown in 1961. Here is one of those artists who can easily sing country or Rockabilly, and this tune is a pleasure to listen to, great bass-y guitar solo and well delivered vocals.
Many of us have heard quite enough of ‘This Train’ recently, however, do not despair folks, this is a cracking version from Gerry Lockran, who had this on the flip of a cover of ‘Hey Jude’ from 1969. More from the Super Super Blues Band, and ‘Long Distance Call’ the title track from the album, that gave us the other track on this release. This features Howlin’ Wolf’s vocals, to a beat not unlike ‘Smokestack Lightning’. What’s not to like?
Bo Diddley’s ‘Catch This Train’ is a FTM mix. In the mid-90’s ‘Please Mister Engineer’ featured on a CD of Bo’s rare stuff. Here, I have to say, is four and a bit minutes of sheer poetry, set to the classic McDaniel beat. The track was released on a (very) limited mono 45rpm press by FTM, this is a stereo cut and only available on this CD. Worth the cover price alone!!
‘Little Romance’ was the debut single for Minnesota band the Underbeats. Hearing this you can appreciate the Chuck Berry influence, so it wasn’t a great surprise when researching the song, I note that the ‘B’ side was ‘Broken Arrow’, by……Chuck Berry. Roy Hamilton has a fantastically smooth and powerful Gospel-like voice. ‘If Only I’d Have Known’ was a ‘B’ side from 1962, and it’s sublime. That’s followed by the Grandisons’ ‘Allright’ from ’63, a zippy call and answer ‘hey hey hey hey’ sound. Apparently, they were a favourite of Lonnie Donegan, but chart success eluded them.
We’re near the end now readers, and it’s a party time instrumental from the Fabulous Majestics, ‘Somethin’ Else’ from ’63. Cool guitar riffs offset by sax and what sounds like a pretty fun party in the background. FTM then fades out with his own jingle, which is a melting pot of various songs and tunes, that you can work out for yourselves 😊
Well, hopefully that will give you an insight into the quality on this CD. Compilers sometimes run out of decent material to put on compilation series, but this can never be levelled at FTM. There are some real peaches amongst this selection, stuff we’d not heard before, and appreciate being introduced to, as will you.
Great addition for completists and for first timers alike!
Howlin’ – The Rhythm Slicks
CD review
The Rhythm Slicks are a four piece from South Wales, a part of the UK that boasts some of the foremost performers and musicians on the Rock ‘n’ Roll circuit. Here we combine the talents of Kevin Burnett, songwriter, vocalist and rhythm guitar, with gifted lead guitarist Nick Jones, and familiar faces Tony Biggs and Mark Kemlo on upright bass and drums respectively.
The opening track is a kicker at over three and a half minutes duration. Already, a few bars in you get the feel of the band’s style. The guitar riffs are ballsy and accomplished, the beat and rhythm strides through ‘Black Whiskey and Gasoline’, and with the volume turned up to the max in my headphones, it’s an aural treat. Pacey and punchy, that’s the best way to describe the opening bars of ‘Blowing Through’, which makes best use of the infectiously repetitive drum beat, and a well-conceived key change mid-song.
There are a number of ‘Destiny Brown’s when you research it. This one on track three is a well-travelled and experienced musician in a Juke Joint fashion. Her story is set to a more sedate and jazz pace, to really good effect. ‘Blue Voodoo’ displays more of Nick Jones’ dexterity on the six strings, set to expert drum progressions from Mark Kemlo. If you’re looking for one, here’s a stroll beat. Back up rocking again with the title track ‘Howlin’, delivered vocally in a wolf-man style, unsurprisingly perhaps. The lead guitar cries and screams in the instro breaks, all that’s missing is a vocal ‘howl’, to go with the sinister growl and laughter. Yeah readers, this is well deserving of the title track honour.
Ok readers of a certain vintage, when you see the name ‘Rockford’, what do you think? The Malibu based private eye, played by James Garner? So did I. Well, ‘Jumping Mister Rockford’ isn’t anything to do with that, this is a bright and bouncy rocker, that bridges styles between country and Rockabilly. A slight easing of pace for ‘Black Hearted Woman’, a nippy stroll beat that has an early Ike Turner feel about the guitar work, and embittered lyrics about a lost love. I liked the ‘ad-lib to fade’ ending to this, it makes you wonder exactly how much further the lyrics would go, other than the promise of composing the song.
Some Blues next, with top drawer walk and slide on the guitar on ‘Red Devil Baby’, which is complemented by the ‘tick’ of Tony’s bass slapping. ‘Storm Blowing Ali’ is another jazzy feeling song, with a catchy rhythm and a super-cool late-night vibe to both the lyrics and guitar work. We end with a classic blues bopper riff opening ‘Wolf in Sheep’s Clothing’, another howl-at-the-moon themed rock-along with just the right amount of ‘how hows’ to give it that floor filling sound. Quite the lady this song is about.
The Rhythm Slicks are another band that we have yet to see live, something that must be rectified when we, and they, can go out again! There are a variety of styles, beats and rhythms on this record. The song writing is accomplished, all the tracks are original compositions, and the musicianship is exemplary, from the engine room of the tempo, to the blistering guitar solos. Kevin’s vocals are powerful and carry the lyrics extremely well.
This is one of those records that needs to be played loud and proud, readers. Top stuff
CD review
The Rhythm Slicks are a four piece from South Wales, a part of the UK that boasts some of the foremost performers and musicians on the Rock ‘n’ Roll circuit. Here we combine the talents of Kevin Burnett, songwriter, vocalist and rhythm guitar, with gifted lead guitarist Nick Jones, and familiar faces Tony Biggs and Mark Kemlo on upright bass and drums respectively.
The opening track is a kicker at over three and a half minutes duration. Already, a few bars in you get the feel of the band’s style. The guitar riffs are ballsy and accomplished, the beat and rhythm strides through ‘Black Whiskey and Gasoline’, and with the volume turned up to the max in my headphones, it’s an aural treat. Pacey and punchy, that’s the best way to describe the opening bars of ‘Blowing Through’, which makes best use of the infectiously repetitive drum beat, and a well-conceived key change mid-song.
There are a number of ‘Destiny Brown’s when you research it. This one on track three is a well-travelled and experienced musician in a Juke Joint fashion. Her story is set to a more sedate and jazz pace, to really good effect. ‘Blue Voodoo’ displays more of Nick Jones’ dexterity on the six strings, set to expert drum progressions from Mark Kemlo. If you’re looking for one, here’s a stroll beat. Back up rocking again with the title track ‘Howlin’, delivered vocally in a wolf-man style, unsurprisingly perhaps. The lead guitar cries and screams in the instro breaks, all that’s missing is a vocal ‘howl’, to go with the sinister growl and laughter. Yeah readers, this is well deserving of the title track honour.
Ok readers of a certain vintage, when you see the name ‘Rockford’, what do you think? The Malibu based private eye, played by James Garner? So did I. Well, ‘Jumping Mister Rockford’ isn’t anything to do with that, this is a bright and bouncy rocker, that bridges styles between country and Rockabilly. A slight easing of pace for ‘Black Hearted Woman’, a nippy stroll beat that has an early Ike Turner feel about the guitar work, and embittered lyrics about a lost love. I liked the ‘ad-lib to fade’ ending to this, it makes you wonder exactly how much further the lyrics would go, other than the promise of composing the song.
Some Blues next, with top drawer walk and slide on the guitar on ‘Red Devil Baby’, which is complemented by the ‘tick’ of Tony’s bass slapping. ‘Storm Blowing Ali’ is another jazzy feeling song, with a catchy rhythm and a super-cool late-night vibe to both the lyrics and guitar work. We end with a classic blues bopper riff opening ‘Wolf in Sheep’s Clothing’, another howl-at-the-moon themed rock-along with just the right amount of ‘how hows’ to give it that floor filling sound. Quite the lady this song is about.
The Rhythm Slicks are another band that we have yet to see live, something that must be rectified when we, and they, can go out again! There are a variety of styles, beats and rhythms on this record. The song writing is accomplished, all the tracks are original compositions, and the musicianship is exemplary, from the engine room of the tempo, to the blistering guitar solos. Kevin’s vocals are powerful and carry the lyrics extremely well.
This is one of those records that needs to be played loud and proud, readers. Top stuff
FTM In the Groove Part Three – Cd Review
Due to exceptional demand for this title, FTM has reissued ‘In The Groove’ part three with a further two hundred hand numbered copies. Issue #1 has now been deleted. In case you are new to our magazine, we decided to re-run the review of the tracks, from last year.
The incredibly prolific producer and DJ, Flat Top Mark Philips, has mixed up and mastered yet another magnum opus in his series of ‘In The Groove’ compilations. Here he’s supplied more heterogenous tracks, not following any particular format, opening with the ‘007 James Bond Theme’ by James and the Marksmen. In typical FTM style, there’s iconic Bond quotes mixed in among the music.
Similarly, moving directly on to ‘Miserlou X’. Dick Dale v/s Flat Top Mark on this version, which again heavily relies on commentary from Pulp Fiction. In particular Pumpkin and Honeybunny during the opening scene, with Tim Roth and Amanda Plummer’s characters holding up a restaurant, and threatening the rest of the diners. Not for the faint hearted this, but hugely effective, also including Samuel L Jackson’s, Jules’ ‘My name is the law’ speech.
For those only familiar with ‘Glad All Over’ and ‘Bits and Pieces’ let FTM introduce you the Dave Clark Five’s instrumental from the early ‘60’s ‘Chaquita’, some low-down R&B for you. Mike Sheridan and the Nightriders were a band from Birmingham who had that ‘Mersey Beat’ in the early sixties, showcased here with ‘In Love’, the flip to ‘Please Mr Postman’ in ’63.
Another instro track follows, this being ‘Crack Up’, a 1965 ‘A’ side by Gary Mure, and beyond that I can’t tell you much about it, other than it does what the title suggests, with stinging guitar riffs and organ solos. Another curio for us was an interestingly named band All The Marbles, and what appears to be one side of their only release ‘I’m Gonna Lock You Up’ from ’66. No probs with ID on the next track, one of Elvis’ standards, ‘Suspicion’. Here the Guv’ner is vocally at his best on this Pomus/Shuman beauty from ’62.
FTM then takes on Johnny Cash’s ‘Big River’ making ‘Big River Blast’. It’s not the first time he’s reworked this tune, but each time, there’s something a bit new, a fresh wrinkle if you will, with the Man in Black only having to introduce himself to induce rapturous cheers. In the Cash vein, Robbie Fulks’ cover of ‘Cry Cry Cry’ slots in well. The Chicago based alternative country singer-songwriter pays a fitting tribute in this version.
More Cash to start the next track, with the opening trumpet sound to ‘Ring of Fire’, but that’s not close to what comes next. Titled ‘Walk the Medicine Line’ by Alex The Dog and FTM, it kind of defies categorising. You’ll have to listen yourselves 😊. A name many will be familiar with, is Floyd Dakil, and his dance floor winner ‘Dance Frannie Dance’ from ’64. He the former guitarist for Louis Prima, performs ‘Bad Boy’, which was the next release in ’65 from the above named.
Once again readers, I’ve drawn a blank as far as the next track, ‘Sharp Shooter’ by the Marques is concerned. It’s a pretty cool instro sound, and dare I suggest in the ‘Green Onions’ vein. I wondered if it was ever used for a TV show, ‘cos it has that vibe. Some soul next with Bob Cain’s self-penned track from ’64 ‘Why When You Get What You Want (You Don’t Want It no More)’, which apart from being the longest title on the CD, is a pretty good cross over sound. Similarly, George Freeman’s ’63 cut ‘You Guessed It’ has that Jackie Wilson early sixties style about it.
It’s always good to hear a song from one of the Rock n Roll genre’s big names that rarely gets an outing, often eclipsed by their smash hits. Such is the case with Ricky Nelson’s ‘You Never Know What You’re Missing’ recorded on Imperial Records in 1959. He’s on fine form on this track readers, one for the DJ sets. Next a track that viewers and fans of ‘True Blood’ will recognise as the theme tune to the fantasy horror drama. FTM has given it a remix and a few twists as well.
From the Coral label in 1959, comes Romance Watson’s ‘Come a Little Closer’. Watson was primarily a Gospel and Soul singer, this fits somewhere between the two. Now for a touch of true class, with an alt take on ‘Shake It Baby’ by the exceptional talent that is John Lee Hooker. I think this version has the dream team of Jump Jackson, T-Bone Walker and Willie Dixon backing the Boogie Man. Whatever, it’s up there with Hooker’s best, and like he says often through the song ‘one more’!
More from the Guv’ner next with an alternative cut of ‘We’re Coming in Loaded’ from the film Girls Girls Girls, and another remix of a classic, this time it’s Jackie Wilson’s ‘Reet Petite’. American singer and actor, Hoyt Axton, pitches in with a vocal oddity ‘Double Double Dare’ from 1964 on Vee Jay Records.
Finally, some more exquisiteness, from Ray ‘The Genius’ Charles (that’s how he is billed on the CD). Here he is fronting a big band, with lady backing singers, and a velvet smooth vocal delivery, performing ‘No One’. I was astonished to discover that this was a ‘B’ side, or maybe it was a double ‘A’, seeing as it was coupled with ‘Without Love (There is Nothing) on Paramount Records in 1963.
This is another massively varied collection of music from the 50’s and 60’s, and as usual some have had the FTM input, giving them an added twist. Hot stuff
Due to exceptional demand for this title, FTM has reissued ‘In The Groove’ part three with a further two hundred hand numbered copies. Issue #1 has now been deleted. In case you are new to our magazine, we decided to re-run the review of the tracks, from last year.
The incredibly prolific producer and DJ, Flat Top Mark Philips, has mixed up and mastered yet another magnum opus in his series of ‘In The Groove’ compilations. Here he’s supplied more heterogenous tracks, not following any particular format, opening with the ‘007 James Bond Theme’ by James and the Marksmen. In typical FTM style, there’s iconic Bond quotes mixed in among the music.
Similarly, moving directly on to ‘Miserlou X’. Dick Dale v/s Flat Top Mark on this version, which again heavily relies on commentary from Pulp Fiction. In particular Pumpkin and Honeybunny during the opening scene, with Tim Roth and Amanda Plummer’s characters holding up a restaurant, and threatening the rest of the diners. Not for the faint hearted this, but hugely effective, also including Samuel L Jackson’s, Jules’ ‘My name is the law’ speech.
For those only familiar with ‘Glad All Over’ and ‘Bits and Pieces’ let FTM introduce you the Dave Clark Five’s instrumental from the early ‘60’s ‘Chaquita’, some low-down R&B for you. Mike Sheridan and the Nightriders were a band from Birmingham who had that ‘Mersey Beat’ in the early sixties, showcased here with ‘In Love’, the flip to ‘Please Mr Postman’ in ’63.
Another instro track follows, this being ‘Crack Up’, a 1965 ‘A’ side by Gary Mure, and beyond that I can’t tell you much about it, other than it does what the title suggests, with stinging guitar riffs and organ solos. Another curio for us was an interestingly named band All The Marbles, and what appears to be one side of their only release ‘I’m Gonna Lock You Up’ from ’66. No probs with ID on the next track, one of Elvis’ standards, ‘Suspicion’. Here the Guv’ner is vocally at his best on this Pomus/Shuman beauty from ’62.
FTM then takes on Johnny Cash’s ‘Big River’ making ‘Big River Blast’. It’s not the first time he’s reworked this tune, but each time, there’s something a bit new, a fresh wrinkle if you will, with the Man in Black only having to introduce himself to induce rapturous cheers. In the Cash vein, Robbie Fulks’ cover of ‘Cry Cry Cry’ slots in well. The Chicago based alternative country singer-songwriter pays a fitting tribute in this version.
More Cash to start the next track, with the opening trumpet sound to ‘Ring of Fire’, but that’s not close to what comes next. Titled ‘Walk the Medicine Line’ by Alex The Dog and FTM, it kind of defies categorising. You’ll have to listen yourselves 😊. A name many will be familiar with, is Floyd Dakil, and his dance floor winner ‘Dance Frannie Dance’ from ’64. He the former guitarist for Louis Prima, performs ‘Bad Boy’, which was the next release in ’65 from the above named.
Once again readers, I’ve drawn a blank as far as the next track, ‘Sharp Shooter’ by the Marques is concerned. It’s a pretty cool instro sound, and dare I suggest in the ‘Green Onions’ vein. I wondered if it was ever used for a TV show, ‘cos it has that vibe. Some soul next with Bob Cain’s self-penned track from ’64 ‘Why When You Get What You Want (You Don’t Want It no More)’, which apart from being the longest title on the CD, is a pretty good cross over sound. Similarly, George Freeman’s ’63 cut ‘You Guessed It’ has that Jackie Wilson early sixties style about it.
It’s always good to hear a song from one of the Rock n Roll genre’s big names that rarely gets an outing, often eclipsed by their smash hits. Such is the case with Ricky Nelson’s ‘You Never Know What You’re Missing’ recorded on Imperial Records in 1959. He’s on fine form on this track readers, one for the DJ sets. Next a track that viewers and fans of ‘True Blood’ will recognise as the theme tune to the fantasy horror drama. FTM has given it a remix and a few twists as well.
From the Coral label in 1959, comes Romance Watson’s ‘Come a Little Closer’. Watson was primarily a Gospel and Soul singer, this fits somewhere between the two. Now for a touch of true class, with an alt take on ‘Shake It Baby’ by the exceptional talent that is John Lee Hooker. I think this version has the dream team of Jump Jackson, T-Bone Walker and Willie Dixon backing the Boogie Man. Whatever, it’s up there with Hooker’s best, and like he says often through the song ‘one more’!
More from the Guv’ner next with an alternative cut of ‘We’re Coming in Loaded’ from the film Girls Girls Girls, and another remix of a classic, this time it’s Jackie Wilson’s ‘Reet Petite’. American singer and actor, Hoyt Axton, pitches in with a vocal oddity ‘Double Double Dare’ from 1964 on Vee Jay Records.
Finally, some more exquisiteness, from Ray ‘The Genius’ Charles (that’s how he is billed on the CD). Here he is fronting a big band, with lady backing singers, and a velvet smooth vocal delivery, performing ‘No One’. I was astonished to discover that this was a ‘B’ side, or maybe it was a double ‘A’, seeing as it was coupled with ‘Without Love (There is Nothing) on Paramount Records in 1963.
This is another massively varied collection of music from the 50’s and 60’s, and as usual some have had the FTM input, giving them an added twist. Hot stuff
Interview with Mary Ann
BJR We always start by asking our interviewees this question, as it’s good to know what makes people tick. So how did you get into Rock n Roll music and the style?
MA I was a semi-professional singer working the club and cabaret circuit in the 90s when in 1999 I received a call from a Rock’n’Roll Theatre show called At The Hop inviting me to audition for the show. The show featured a North East Rock’n’Roll band called Juke Box Jive and you may recognise some of the members who later went on to form from The Revolutionaires.
Thankfully I got the job and soon after joining the show I asked Ed to teach me how to Jive so that we could include it in the stage show. He invited me along to a small Rock’n’Roll club in Blaydon, Tyne & Wear ran by legendary DJ, Stewart Campbell and it was like walking into another world but I was hooked from the minute I walked in the door.
BJR When did you discover your love for singing?
MA The love of singing has just always been there so I don’t remember a time when I didn’t love it. As a child my sister and I used to have singing competitions and we would try to get our Mam to choose who was best, which of course she never did. I would look for any excuse to sing whether that was singing along with the radio or joining the School choir or going to the local Sunday School and as I got older I would try to find harmonies to the songs I was listening to on the radio.
BJR And your love for the lady vocalists from the 40’s and 50’s, how did that come about?
MA I have always been drawn to roots music but after I started singing Rock’n’Roll I started exploring more music from that era. I would spend hours getting lost in a YouTube rabbit hole discovering new music and adding songs to my performance wish list. This led me to these huge voices of the female vocalists of that era and I was instantly drawn to them and wanted to sing those songs. It’s not just the female artists though. My wish list is long! I just love powerful, soulful voices, whether that is male or female.
BJR Do you recall the first songs you sang ‘in public’ so to speak, in a group or solo?
MA First song? Now that’s a tough one. In reality it was probably something I sang in Sunday School when I was 9 or 10 but the first “performance” I can remember doing was in High School. I think I was about 13 and I sang The Last Time by The Rolling Stones with the School band. It was a large School, maybe 600 kids and it was terrifying but that was the day I knew that all I ever wanted to be was a singer.
BJR You once told us that you are classically trained as a vocalist. What styles did you learn during that time
MA I studied a BTEC in Jazz, Popular and Commercial Music in college and as part of that course we got instrument lessons and the chance to take exams for those instruments. For me, my instrument was my voice so I received singing lessons.
My vocal coach was very much a classical/operatic singer and at that time the only exams available for the voice were the Royal School of Music Grades which for the voice were very much centred on classical/operatic songs. Many of which were in other languages such as German, Italian and Latin. I was categorised as a Mezzo Soprano vocalist and I reached Grade 8 level when I was 17, which is the highest grade.
I was once told not to get singing lessons as it would change my voice. To be fair they were right to a certain extent, but it changed my voice for the better. It didn’t change the sound of my voice or turn me into an opera singer but the techniques I learned improved my range, control, diction and pitch and also my breath control so all the work was definitely worth it.
BJR Now to your favourite artists, singers. Can you narrow it down, whether they are from the past or today, R&B or Rockabilly
MA Again, that’s a tough one. My taste in music is incredibly eclectic and my music collection contains everything from classical to folk, blues, RnR, RnB, soul, easy listening and heavy rock. I honestly find it very hard to pick favourites as my favourites change depending on what is going on in my life.
As a singer I am generally drawn more to the RnB singers from the 40s to the 60s (both male and female) but I equally like the Country and Rockabilly artists of the 40s and 50s too, especially the close harmony stuff.
I would love to be able to choose an absolute favourite but there are too many to choose from and I love them all for different reasons. Sorry.
BJR We always start by asking our interviewees this question, as it’s good to know what makes people tick. So how did you get into Rock n Roll music and the style?
MA I was a semi-professional singer working the club and cabaret circuit in the 90s when in 1999 I received a call from a Rock’n’Roll Theatre show called At The Hop inviting me to audition for the show. The show featured a North East Rock’n’Roll band called Juke Box Jive and you may recognise some of the members who later went on to form from The Revolutionaires.
Thankfully I got the job and soon after joining the show I asked Ed to teach me how to Jive so that we could include it in the stage show. He invited me along to a small Rock’n’Roll club in Blaydon, Tyne & Wear ran by legendary DJ, Stewart Campbell and it was like walking into another world but I was hooked from the minute I walked in the door.
BJR When did you discover your love for singing?
MA The love of singing has just always been there so I don’t remember a time when I didn’t love it. As a child my sister and I used to have singing competitions and we would try to get our Mam to choose who was best, which of course she never did. I would look for any excuse to sing whether that was singing along with the radio or joining the School choir or going to the local Sunday School and as I got older I would try to find harmonies to the songs I was listening to on the radio.
BJR And your love for the lady vocalists from the 40’s and 50’s, how did that come about?
MA I have always been drawn to roots music but after I started singing Rock’n’Roll I started exploring more music from that era. I would spend hours getting lost in a YouTube rabbit hole discovering new music and adding songs to my performance wish list. This led me to these huge voices of the female vocalists of that era and I was instantly drawn to them and wanted to sing those songs. It’s not just the female artists though. My wish list is long! I just love powerful, soulful voices, whether that is male or female.
BJR Do you recall the first songs you sang ‘in public’ so to speak, in a group or solo?
MA First song? Now that’s a tough one. In reality it was probably something I sang in Sunday School when I was 9 or 10 but the first “performance” I can remember doing was in High School. I think I was about 13 and I sang The Last Time by The Rolling Stones with the School band. It was a large School, maybe 600 kids and it was terrifying but that was the day I knew that all I ever wanted to be was a singer.
BJR You once told us that you are classically trained as a vocalist. What styles did you learn during that time
MA I studied a BTEC in Jazz, Popular and Commercial Music in college and as part of that course we got instrument lessons and the chance to take exams for those instruments. For me, my instrument was my voice so I received singing lessons.
My vocal coach was very much a classical/operatic singer and at that time the only exams available for the voice were the Royal School of Music Grades which for the voice were very much centred on classical/operatic songs. Many of which were in other languages such as German, Italian and Latin. I was categorised as a Mezzo Soprano vocalist and I reached Grade 8 level when I was 17, which is the highest grade.
I was once told not to get singing lessons as it would change my voice. To be fair they were right to a certain extent, but it changed my voice for the better. It didn’t change the sound of my voice or turn me into an opera singer but the techniques I learned improved my range, control, diction and pitch and also my breath control so all the work was definitely worth it.
BJR Now to your favourite artists, singers. Can you narrow it down, whether they are from the past or today, R&B or Rockabilly
MA Again, that’s a tough one. My taste in music is incredibly eclectic and my music collection contains everything from classical to folk, blues, RnR, RnB, soul, easy listening and heavy rock. I honestly find it very hard to pick favourites as my favourites change depending on what is going on in my life.
As a singer I am generally drawn more to the RnB singers from the 40s to the 60s (both male and female) but I equally like the Country and Rockabilly artists of the 40s and 50s too, especially the close harmony stuff.
I would love to be able to choose an absolute favourite but there are too many to choose from and I love them all for different reasons. Sorry.
Mary and Joe Guillan on stage in Colchester, one of the band's first gigs
BJR Your band Miss Mary and the Mister Rights has been around for a while now, how did that come about?
MA It all started on the roof terrace of a local pub back in 2011 where we all used to go to watch bands. I was enjoying a nice cold strawberry beer when John Cavener from The Sureshots mentioned that Dave Phillips was returning to the UK and was planning a tour in 2012. He then asked if I was interested in putting something together to be the support band for the North East gig so I said yes.
I didn’t expect it to be anything more than a one off to be honest but the crowd loved it and we did too. The wonderful Colin Silcocks was at that gig and booked us there and then for another show in Birmingham. He then started recommending us to other promoters, then a call came in for another show in Essex, then Hemsby and so on. Here we are now having just celebrated our 8th birthday in April.
BJR Is there a particular song, or songs, that you always want in your live shows
MA My favourites have changed over the years but one song we’ve never dropped is Mr Blues by Damita Jo. I think my current favourite is Aw! Shucks Baby by Tiny Topsy.
BJR You take on the classics in your shows, but also the lesser known or lesser played. I’m thinking about the likes of Little Esther’s ‘Mainliner’ and particularly (recently) Vanita Smyth’s ‘Back Door Man’, which we’d not heard before. What is your process for choosing your material for the shows?
MA Hours in a YouTube rabbit hole. I start with a song I know then I see where YouTube takes me. When I find a song I like I add it to a playlist to listen again later. Then I go through that list and listen to the instrumentation to see of it is something that would work with the band, I see how it feels to sing it and if it works on both fronts then I put it to the band and we try it out. I’m never really sure how they’re going to work until we get together as a band and not every song we try ends up in the set.
BJR You have another project ongoing, tell us about that (your other group)
MA As I mentioned earlier I started working with the guys from The Revolutionaires 20 years ago in another show and over the years I have joined The Revolutionaires on stage as a special guest a few times.
Rich (bass) and I both have a keen interest in the cross over era between RnB and Soul from the late 50s to early 60s and we have always worked well together so when he approached me about putting together a new band called Lil Miss Mary & The Crown Royales, naturally I said yes.
We already had Mark (Revs drummer) on board and we were over the moon when Eb Slim agreed to join the band. He is an amazing blues guitarist that I have known for many years. He has worked with Mr Rights in the past so I knew he would be a great addition to the band.
Rich already had a list of songs in mind and I had a list that I knew would never work for the Mr Rights so we put our heads together and came up with an amazing set list. The band gels together nicely and I am over the moon with the sound. I am thoroughly enjoying the chance to sing more RnB/Soul songs that I would never do with the Mr Rights so this gives me the best of both worlds with both bands covering all the styles I love from the 40s through to the 60s.
MA It all started on the roof terrace of a local pub back in 2011 where we all used to go to watch bands. I was enjoying a nice cold strawberry beer when John Cavener from The Sureshots mentioned that Dave Phillips was returning to the UK and was planning a tour in 2012. He then asked if I was interested in putting something together to be the support band for the North East gig so I said yes.
I didn’t expect it to be anything more than a one off to be honest but the crowd loved it and we did too. The wonderful Colin Silcocks was at that gig and booked us there and then for another show in Birmingham. He then started recommending us to other promoters, then a call came in for another show in Essex, then Hemsby and so on. Here we are now having just celebrated our 8th birthday in April.
BJR Is there a particular song, or songs, that you always want in your live shows
MA My favourites have changed over the years but one song we’ve never dropped is Mr Blues by Damita Jo. I think my current favourite is Aw! Shucks Baby by Tiny Topsy.
BJR You take on the classics in your shows, but also the lesser known or lesser played. I’m thinking about the likes of Little Esther’s ‘Mainliner’ and particularly (recently) Vanita Smyth’s ‘Back Door Man’, which we’d not heard before. What is your process for choosing your material for the shows?
MA Hours in a YouTube rabbit hole. I start with a song I know then I see where YouTube takes me. When I find a song I like I add it to a playlist to listen again later. Then I go through that list and listen to the instrumentation to see of it is something that would work with the band, I see how it feels to sing it and if it works on both fronts then I put it to the band and we try it out. I’m never really sure how they’re going to work until we get together as a band and not every song we try ends up in the set.
BJR You have another project ongoing, tell us about that (your other group)
MA As I mentioned earlier I started working with the guys from The Revolutionaires 20 years ago in another show and over the years I have joined The Revolutionaires on stage as a special guest a few times.
Rich (bass) and I both have a keen interest in the cross over era between RnB and Soul from the late 50s to early 60s and we have always worked well together so when he approached me about putting together a new band called Lil Miss Mary & The Crown Royales, naturally I said yes.
We already had Mark (Revs drummer) on board and we were over the moon when Eb Slim agreed to join the band. He is an amazing blues guitarist that I have known for many years. He has worked with Mr Rights in the past so I knew he would be a great addition to the band.
Rich already had a list of songs in mind and I had a list that I knew would never work for the Mr Rights so we put our heads together and came up with an amazing set list. The band gels together nicely and I am over the moon with the sound. I am thoroughly enjoying the chance to sing more RnB/Soul songs that I would never do with the Mr Rights so this gives me the best of both worlds with both bands covering all the styles I love from the 40s through to the 60s.
On stage at the Riot in 2019 during the Ruth Brown tribute
BJR You’ve only recorded one CD, some years ago now, anything else in the pipeline? (Readers bear in mind that we are in the middle of restrictions due to Covid-19 when this interview took place)
MA I would love to go back in the studio. Recording and releasing a CD is extremely expensive and when you don’t have a record label it all has to be self-funded which can be very difficult, especially in recent years with all the austerity that is affecting all of us.
There were some plans to head into the studio this year with the Mr Rights but the recent pandemic has put a stop to those plans. There have also been talks about recording with the Crown Royales in 2021 so hopefully at least one, if not both bands will be able to release something in 2021.
BJR What are your details for anyone who would like to contact you?
MA
Email [email protected] for all booking enquiries for Miss Mary & The Mr Rights, find us on Facebook at www.facebook.com/MissMaryAndTheMrRights/ or visit the website at www.lilmissmary.co.uk
Email [email protected] for all booking enquiries for Lil Miss Mary & The Crown Royales, find us on Facebook at www.facebook.com/TheCrownRoyales/ or @TheCrownRoyales on Twitter and @lilmissmaryandthecrownroyales on Instagram.
Email [email protected] for all booking enquiries for Lil Miss Mary, find me on Facebook at www.facebook.com/LilMissMary.co.uk/ or @Lil_Miss_Mary_ on Twitter
BJR Thank you Mary
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
MA I would love to go back in the studio. Recording and releasing a CD is extremely expensive and when you don’t have a record label it all has to be self-funded which can be very difficult, especially in recent years with all the austerity that is affecting all of us.
There were some plans to head into the studio this year with the Mr Rights but the recent pandemic has put a stop to those plans. There have also been talks about recording with the Crown Royales in 2021 so hopefully at least one, if not both bands will be able to release something in 2021.
BJR What are your details for anyone who would like to contact you?
MA
Email [email protected] for all booking enquiries for Miss Mary & The Mr Rights, find us on Facebook at www.facebook.com/MissMaryAndTheMrRights/ or visit the website at www.lilmissmary.co.uk
Email [email protected] for all booking enquiries for Lil Miss Mary & The Crown Royales, find us on Facebook at www.facebook.com/TheCrownRoyales/ or @TheCrownRoyales on Twitter and @lilmissmaryandthecrownroyales on Instagram.
Email [email protected] for all booking enquiries for Lil Miss Mary, find me on Facebook at www.facebook.com/LilMissMary.co.uk/ or @Lil_Miss_Mary_ on Twitter
BJR Thank you Mary
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
|
Your hosts for Hemsby nowadays are Bill Guntrip and his family. Following the cancellation of May 2020's event, Bill has announced a super line up for October 2020 from the 16th to 19th. In the meantime, check out the website for further details, and get booking, it’s going to be a good one.
And here's the line up for May 2021 too Word is that there has been a lot of repeat bookings from last May, and in the regenerated camp site and new ownership, has reinforced the fact that the longest running Rock n Roll Weekender, is still going strong. Click flyers for details |
|
vinyl reviews
All records and CDs contained in these reviews, can be purchased at the dealers above. Click on the logos to take you to their sale sites
Bobby Bare – Repro 45
Country music legend Robert Joseph Bare Sr is most famous for songs like ‘500 Miles Away From Home’ and ‘Detroit City’. His 1950’s recordings were not as successful as the later material, and it was not until after a stint in the Army, commercial success came
Here on this repro single we have a pair of 1958 cuts with the Hallowe’en horror stroll/jive beat of ‘Vampira’. This is about a young lady 6’3” tall who clearly has the singer in her sights, despite her rather strange looks, it seems.
Turn it over, and you have a pretty ace ballad, erring more on the Country music style ‘Tender Years’, which was also the title track of a 1965 LP by Bobby Bare.
Country music legend Robert Joseph Bare Sr is most famous for songs like ‘500 Miles Away From Home’ and ‘Detroit City’. His 1950’s recordings were not as successful as the later material, and it was not until after a stint in the Army, commercial success came
Here on this repro single we have a pair of 1958 cuts with the Hallowe’en horror stroll/jive beat of ‘Vampira’. This is about a young lady 6’3” tall who clearly has the singer in her sights, despite her rather strange looks, it seems.
Turn it over, and you have a pretty ace ballad, erring more on the Country music style ‘Tender Years’, which was also the title track of a 1965 LP by Bobby Bare.
Bobby Day – repro 45
Singer, producer, songwriter and multi-instrumentalist Robert James Byrd 1930-1990, known as Bobby Day, is responsible for some of the most recognisable dance floor tracks on the Rock n Roll circuit. Here’s two of them on a Class Records repro 45, both written by Bobby Day.
Many readers will know ‘Little Turtle Dove’, a stroller from 1958, that has graced dance halls for a lot of years. It’s catchy and infectious choral backing vocals and full sound make it a favourite.
The ‘B’ side ‘That’s All I Want’ is from a 1959 single. One of Day’s most famous songs has to be ‘Rockin Robin’ (written by Jimmie Thomas). This song was written by Day, and follows the structure and tone of ‘Robin’, but stands well on it’s own. A stick-on floor fille
Singer, producer, songwriter and multi-instrumentalist Robert James Byrd 1930-1990, known as Bobby Day, is responsible for some of the most recognisable dance floor tracks on the Rock n Roll circuit. Here’s two of them on a Class Records repro 45, both written by Bobby Day.
Many readers will know ‘Little Turtle Dove’, a stroller from 1958, that has graced dance halls for a lot of years. It’s catchy and infectious choral backing vocals and full sound make it a favourite.
The ‘B’ side ‘That’s All I Want’ is from a 1959 single. One of Day’s most famous songs has to be ‘Rockin Robin’ (written by Jimmie Thomas). This song was written by Day, and follows the structure and tone of ‘Robin’, but stands well on it’s own. A stick-on floor fille
Henry Strogin & Sonny Harper repro 45
A really ace two sider repro Ball Records has hit the stores, showcasing two top drawer rhythm and blues sounds.
Henry Strogin co-wrote side A, ‘Old Folks Boogie, While The Young Ones Twist’ on the Hollywood based label in the early 60’s. It has a smashing bop beat and lyrics in that ‘feelin’ good feelin’ bad’ style, and the hootin’ and hollerin’ adds to the experience
The ‘B’ side, also from ’62, is Sonny Harper’s ‘Lonely Stranger’. E. J. ‘Buddy’ Harper’s (Sonny’s given name) career appears to have been rather short, which is a shame given the quality of this record. It’s a fabulous shuffle with a forthright sounding harmonica.
This one’s going to be a big seller if early interest is anything to go by
A really ace two sider repro Ball Records has hit the stores, showcasing two top drawer rhythm and blues sounds.
Henry Strogin co-wrote side A, ‘Old Folks Boogie, While The Young Ones Twist’ on the Hollywood based label in the early 60’s. It has a smashing bop beat and lyrics in that ‘feelin’ good feelin’ bad’ style, and the hootin’ and hollerin’ adds to the experience
The ‘B’ side, also from ’62, is Sonny Harper’s ‘Lonely Stranger’. E. J. ‘Buddy’ Harper’s (Sonny’s given name) career appears to have been rather short, which is a shame given the quality of this record. It’s a fabulous shuffle with a forthright sounding harmonica.
This one’s going to be a big seller if early interest is anything to go by
|
|
The Guv’ner – 45rpm review
Hunk Recordings present a top two sider 45rpm featuring the Guv’ner, Elvis Presley.
Side one, Steppin’ Out Of Line’ from 1961, was recorded for use in ‘Blue Hawaii’, although it appeared on the seventh studio album ‘Pot Luck with Elvis’. It then appeared on a re-release of the Blue Hawaii soundtrack as a bonus track. It’s a mid-tempo beauty, that’s somewhat underplayed compared to the more recognisable tunes from the film.
Flip it over, and it’s ‘She’s a Machine’ is from the 1967 film ‘Easy Come Easy Go’, and is a pretty pacey rocker featuring vocal backing from the Jordinaires, a jumpy tambourine and brass driven rhythm.
Both the tracks have been mixed by Flat Top Dave Phillips, and sound ace on this smashing chunk of vinyl goodness
Hunk Recordings present a top two sider 45rpm featuring the Guv’ner, Elvis Presley.
Side one, Steppin’ Out Of Line’ from 1961, was recorded for use in ‘Blue Hawaii’, although it appeared on the seventh studio album ‘Pot Luck with Elvis’. It then appeared on a re-release of the Blue Hawaii soundtrack as a bonus track. It’s a mid-tempo beauty, that’s somewhat underplayed compared to the more recognisable tunes from the film.
Flip it over, and it’s ‘She’s a Machine’ is from the 1967 film ‘Easy Come Easy Go’, and is a pretty pacey rocker featuring vocal backing from the Jordinaires, a jumpy tambourine and brass driven rhythm.
Both the tracks have been mixed by Flat Top Dave Phillips, and sound ace on this smashing chunk of vinyl goodness
Howlin’ Wolf – repro 45 review
Chester Arthur Bennett (1910-1976), is one of the best-known Chicago Blues artists. He was known as Howlin’ Wolf, originally from Mississippi, he had a booming voice and was an imposing figure on stage at 6’3” tall, and over twenty stone in weight.
Here are two examples of his fine back catalogue from Chess Records, starting with ‘Howlin’ For My Darling’ which Wolf wrote with Willie Dixon. This is a superb up-tempo blues number with powerful vocals and an infectious beat
‘Spoonful’ is one of Howlin’ Wolf’s most famous songs, covered by many, matched by few. It’s a song about the destructive power of obsession, containing the sinister and memorable line ‘One spoon of love from my forty-five will save you from another man’.
Quality
Chester Arthur Bennett (1910-1976), is one of the best-known Chicago Blues artists. He was known as Howlin’ Wolf, originally from Mississippi, he had a booming voice and was an imposing figure on stage at 6’3” tall, and over twenty stone in weight.
Here are two examples of his fine back catalogue from Chess Records, starting with ‘Howlin’ For My Darling’ which Wolf wrote with Willie Dixon. This is a superb up-tempo blues number with powerful vocals and an infectious beat
‘Spoonful’ is one of Howlin’ Wolf’s most famous songs, covered by many, matched by few. It’s a song about the destructive power of obsession, containing the sinister and memorable line ‘One spoon of love from my forty-five will save you from another man’.
Quality
Jimmie Raney & Slim Slaughter – repro 45
Jimmie Raney was a drummer and apparently a pretty good tap dancer, who was given his name by Ma Raney when he played in her band as a teenager. His real name was Joe Dehorney. His own output seems to be limited to three singles, between ’58 and ’60 and this one on JoDee Records showcases two of his own compositions.
‘Crazy Moon’ is just a gorgeous tune, if you can imagine back to a smokey club with a R&B in the corner playing moody perfection. Here Raney is backed by vocalist Sally Bennett who echoes his vocals with just the right amount of atmosphere. The sax break is a delight too
Over on the other side, a bouncing drinking lament about a guy whose girlfriend likes a drink, shall we say. He’s going to have to leave her, as he can’t keep up the pace with her. Here Raney is joined by Slim Slaughter on a piano and sax gem
Jimmie Raney was a drummer and apparently a pretty good tap dancer, who was given his name by Ma Raney when he played in her band as a teenager. His real name was Joe Dehorney. His own output seems to be limited to three singles, between ’58 and ’60 and this one on JoDee Records showcases two of his own compositions.
‘Crazy Moon’ is just a gorgeous tune, if you can imagine back to a smokey club with a R&B in the corner playing moody perfection. Here Raney is backed by vocalist Sally Bennett who echoes his vocals with just the right amount of atmosphere. The sax break is a delight too
Over on the other side, a bouncing drinking lament about a guy whose girlfriend likes a drink, shall we say. He’s going to have to leave her, as he can’t keep up the pace with her. Here Raney is joined by Slim Slaughter on a piano and sax gem
Tarheel Slim & Little Ann b/w Johnny Chef – repro 45
Allen Rathel Bunn (1923-1977) performed as Tarheel Slim, as well as with the Selah Jubilee Singers and, The Larks, and had a go at just about every genre of music in his career. Many will be familiar with his Fury two sider ‘Wildcat Tamer’ and ‘Number Nine Train’. Here he’s performing ‘Can’t Stay Away From You’ with his wife Little Ann (Anna Lee Sanford) on Fire Records. Indeed, Slim’s vocal delivery on this track is very similar to ‘Number Nine Train’, with Little Ann providing perfect backing vocals on this mid-tempo floor filler.
On the flipside, we have Johnny Chef’s ‘Can’t Stop Moving’, a sax driven, catchy rhythm tune from 1962. Also known as Johnny Acey, John Acey Gowdelock (or Goodelock) 1925-2009, was an east coast R&B singer and this song is very much in the hard driving New York blues style of the time
Allen Rathel Bunn (1923-1977) performed as Tarheel Slim, as well as with the Selah Jubilee Singers and, The Larks, and had a go at just about every genre of music in his career. Many will be familiar with his Fury two sider ‘Wildcat Tamer’ and ‘Number Nine Train’. Here he’s performing ‘Can’t Stay Away From You’ with his wife Little Ann (Anna Lee Sanford) on Fire Records. Indeed, Slim’s vocal delivery on this track is very similar to ‘Number Nine Train’, with Little Ann providing perfect backing vocals on this mid-tempo floor filler.
On the flipside, we have Johnny Chef’s ‘Can’t Stop Moving’, a sax driven, catchy rhythm tune from 1962. Also known as Johnny Acey, John Acey Gowdelock (or Goodelock) 1925-2009, was an east coast R&B singer and this song is very much in the hard driving New York blues style of the time
The Chavis Brothers – repro 45
The Chavis Brothers were made up of Danny, Earl, Frank, James, and Ernie and were from North Carolina. They recorded this kicking Rockabilly bopper ‘Love Me Baby’ written by Danny Chavis, on Big Top records in New York in 1959. This is one of those late-night tracks, guaranteed to fill a dancefloor, it has your classic rhythm guitar and bass driven beat, and characteristic pleading lover lyrics.
On the flip, a cover of Hank Williams’ ‘Hey Good Lookin’, and a darn fine one too. Vocal harmonies and a ‘bom bom bom’ tempo. It’s a hopped version from the original and is really effective, even though only a minute and three quarters duration.
A tip top pairing of songs for DJs and music lovers alike
The Chavis Brothers were made up of Danny, Earl, Frank, James, and Ernie and were from North Carolina. They recorded this kicking Rockabilly bopper ‘Love Me Baby’ written by Danny Chavis, on Big Top records in New York in 1959. This is one of those late-night tracks, guaranteed to fill a dancefloor, it has your classic rhythm guitar and bass driven beat, and characteristic pleading lover lyrics.
On the flip, a cover of Hank Williams’ ‘Hey Good Lookin’, and a darn fine one too. Vocal harmonies and a ‘bom bom bom’ tempo. It’s a hopped version from the original and is really effective, even though only a minute and three quarters duration.
A tip top pairing of songs for DJs and music lovers alike
Click on the flyer for details
Boston Jive are back!
Our friends over at Boston Jive have been able to start their jive and stroll classes up again, with pretty strict social distancing in place. This is a feature we will run next issue for you. In the meantime, check their Facebook pages out for details. And while you're about it, read all about their next gig, yes readers, gig! Here's Claire and Neil to explain
We are so extremely excited to announce our first LIVE MUSIC EVENT since February!! Clear your diaries folks and keep Saturday 22nd August free, as we welcome The Summertime Kings to our Jivin' Drive In :-) supported by our Resident DJ Mr Big Feet - we seriously cannot wait!
As you know your safety is paramount to us and so, as I'm sure you would expect, the event has all COVID-19 safety measures in place.
The event will be outside in the grounds of Hubberts Bridge Community Centre and spaces MUST be booked in advance. £8 per person with a maximum of 4 people per car.
Bring a picnic, pitch up your chairs and dance by your car or in the marked out dance area.
TO BOOK: Please pay by Paypal to [email protected] using friends and family option please. OR: Bank transfer to Neil Seabrook Acc No: 81182789 Sort Code: 09-01-33.
WE WILL NEED: Names of all attendees, addresses and phone numbers for track and trace (held securely) and vehicle registration numbers.
IMPORTANT INFORMATION - PLEASE READ
*You MUST attend in a vehicle, walk in's are not permitted for safety reasons.
*CHILDREN are free to attend (will be included in the 4 people max limit per car) but MUST be kept by your vehicle AT ALL TIMES following social distancing measures. You know we love everyone to have a good time and we aren't being party poopers but in the current COVID-19 situation, we would have to ask you to leave if your child does not adhere to the rules.
**SPACES ARE LIMITED** so please book soon to avoid disappointment.
Our friends over at Boston Jive have been able to start their jive and stroll classes up again, with pretty strict social distancing in place. This is a feature we will run next issue for you. In the meantime, check their Facebook pages out for details. And while you're about it, read all about their next gig, yes readers, gig! Here's Claire and Neil to explain
We are so extremely excited to announce our first LIVE MUSIC EVENT since February!! Clear your diaries folks and keep Saturday 22nd August free, as we welcome The Summertime Kings to our Jivin' Drive In :-) supported by our Resident DJ Mr Big Feet - we seriously cannot wait!
As you know your safety is paramount to us and so, as I'm sure you would expect, the event has all COVID-19 safety measures in place.
The event will be outside in the grounds of Hubberts Bridge Community Centre and spaces MUST be booked in advance. £8 per person with a maximum of 4 people per car.
Bring a picnic, pitch up your chairs and dance by your car or in the marked out dance area.
TO BOOK: Please pay by Paypal to [email protected] using friends and family option please. OR: Bank transfer to Neil Seabrook Acc No: 81182789 Sort Code: 09-01-33.
WE WILL NEED: Names of all attendees, addresses and phone numbers for track and trace (held securely) and vehicle registration numbers.
IMPORTANT INFORMATION - PLEASE READ
*You MUST attend in a vehicle, walk in's are not permitted for safety reasons.
*CHILDREN are free to attend (will be included in the 4 people max limit per car) but MUST be kept by your vehicle AT ALL TIMES following social distancing measures. You know we love everyone to have a good time and we aren't being party poopers but in the current COVID-19 situation, we would have to ask you to leave if your child does not adhere to the rules.
**SPACES ARE LIMITED** so please book soon to avoid disappointment.
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 30,000 + 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 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 many gigs to go to as the restrictions 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 interviews.
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 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 many gigs to go to as the restrictions 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 interviews.
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
