The bettajive review magazine #12
The Puppini Sisters
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Ed Stephenson of the Revolutionaires
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Mary Ann the Ramblin Gal
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We've made it to our first birthday readers and despite Covid-19 decimating the live music scene, we have a cracking issue for you upcoming. We mean, check this line up, The Puppini Sisters, Ed Stephenson of the Revolutionaires, The Summertime Kings, LP and his Dirty White Bucks, Mary Ann the Ramblin' Gal, Boston Jive, Razor Holler, Harry and the Hounds and much more.
We are however still in the midst of a pandemic and here is the latest government advice
We are however still in the midst of a pandemic and here is the latest government advice
- HANDS – Wash your hands regularly and for 20 seconds.
- FACE – Wear a face covering in indoor settings where social distancing may be difficult and where you will come into contact with people you do not normally meet.
- SPACE – Stay 2 metres apart from people you do not live with where possible, or 1 metre with extra precautions in place.
The inimitable Casio fx100
The Bettajive Review
Fairly do’s? I touched on this subject a few times, that of the vintage fair. These events used to be pop-up everywhere, and indeed there were/are some very good ones before Covid and starting tentatively up again. But among the vendors of fine vintage clothing and accessories, I can’t help but to have noticed the usual bandwagon jumping ne’er do wells.
You get the posters outside the venue, the flyers around town and on the internet, advertising events, with village halls most popular venues. Entrance fees, set at between two pounds and a heart stopping eight to ten! A tenner! I can go to Harrods, Harvey Nic’s and Fortnum and Mason (other upmarket department stores are available) for nothing! So, a couple of quid I suppose is OK, especially faced with someone looking like the Troll (Foldy-Roll) behind a desk and a rusty cash box in the foyer before you get in. ‘Take a ticket’ they say, holding out a pink raffle ticket (number 675, yeah right, there’s been 674 people in before us, I-think-not). ‘When’s the draw?’ we enquire. ‘There’s no draw, it’s in case you leave and want to come back in’. Oh yeeeeeaaaah, why didn’t I think of that…….
The stalls in a generic fair like this type, encompass everything from the 1900’s through to the 1990’s, and there’s a scattergun approach to the layout, not in date order so to speak. To add to the ambience, there’s sometimes a CD player in one corner with ‘Twenty Hits from the 1960’s brought with ten tokens from the petrol station’ playing. Or latterly, a docking station with a predetermined playlist. The guy in charge of the whole fair has dressed himself up like a penguin in a bowler hat, cracking jokes older than Methuselah, that are as funny as a dose of the squits.
As we advance in years, I’m sure we’re not alone noticing that the contents of some of the stalls actually contain things from our own childhoods. How can that be vintage? …I was alive then! Games like ‘Mousetrap’, ‘Crossfire’ and ‘Battling Tops’ were the bizzo when we were kids (apart from Mousetrap took forever to set up). Oh look, there’s ‘Yahtzee’, do you recall anyone who actually understood how to play it (rhetorical question). You young beggars don’t know you’re born today, with your ‘Assassin’s Creed’ frippery (waves gnarly finger), and now they’re known as ‘vintage’!! Similarly, there’s a Casio fx-100 calculator, which anyone who was at school in the late 70’s will identify with, if only for whiling away the bum-numbing tedium of double maths by spelling ‘Shell Oil’, ‘Esso Oil’, or ‘Boobs’ with the numbers. I bet someone in the Midlands has just done it to show their grand-children!!! And they chose ‘boobs’:)
Fairly do’s? I touched on this subject a few times, that of the vintage fair. These events used to be pop-up everywhere, and indeed there were/are some very good ones before Covid and starting tentatively up again. But among the vendors of fine vintage clothing and accessories, I can’t help but to have noticed the usual bandwagon jumping ne’er do wells.
You get the posters outside the venue, the flyers around town and on the internet, advertising events, with village halls most popular venues. Entrance fees, set at between two pounds and a heart stopping eight to ten! A tenner! I can go to Harrods, Harvey Nic’s and Fortnum and Mason (other upmarket department stores are available) for nothing! So, a couple of quid I suppose is OK, especially faced with someone looking like the Troll (Foldy-Roll) behind a desk and a rusty cash box in the foyer before you get in. ‘Take a ticket’ they say, holding out a pink raffle ticket (number 675, yeah right, there’s been 674 people in before us, I-think-not). ‘When’s the draw?’ we enquire. ‘There’s no draw, it’s in case you leave and want to come back in’. Oh yeeeeeaaaah, why didn’t I think of that…….
The stalls in a generic fair like this type, encompass everything from the 1900’s through to the 1990’s, and there’s a scattergun approach to the layout, not in date order so to speak. To add to the ambience, there’s sometimes a CD player in one corner with ‘Twenty Hits from the 1960’s brought with ten tokens from the petrol station’ playing. Or latterly, a docking station with a predetermined playlist. The guy in charge of the whole fair has dressed himself up like a penguin in a bowler hat, cracking jokes older than Methuselah, that are as funny as a dose of the squits.
As we advance in years, I’m sure we’re not alone noticing that the contents of some of the stalls actually contain things from our own childhoods. How can that be vintage? …I was alive then! Games like ‘Mousetrap’, ‘Crossfire’ and ‘Battling Tops’ were the bizzo when we were kids (apart from Mousetrap took forever to set up). Oh look, there’s ‘Yahtzee’, do you recall anyone who actually understood how to play it (rhetorical question). You young beggars don’t know you’re born today, with your ‘Assassin’s Creed’ frippery (waves gnarly finger), and now they’re known as ‘vintage’!! Similarly, there’s a Casio fx-100 calculator, which anyone who was at school in the late 70’s will identify with, if only for whiling away the bum-numbing tedium of double maths by spelling ‘Shell Oil’, ‘Esso Oil’, or ‘Boobs’ with the numbers. I bet someone in the Midlands has just done it to show their grand-children!!! And they chose ‘boobs’:)
June checking out the vintage
Sometimes there’s a selection of hand tools on these stalls. Tools that granddad had in his shed and, the seller was informed, they’re probably worth something. Hold on, some of the other stalls have those tools as well. That’s because no one uses them anymore, and they’re worth chuff-all!
Anyone who knows us, won’t be surprised to know that it’s usually the clothing we’d go for. We stand in the entrance area and visually sweep the room radar stylie with the occasional high pitched ‘ping’ sound. Drawn as we are to forties and fifties clothing, it’s actually a pleasant experience to come across a genuine article in good nick amongst some of the decrepitude, that’s not some poorly conceived repro article slipped in an attempting to command top dollar. Or a ‘Frankie Says Relax’ T-shirt*
Trying stuff on in these places is not always conducive. Some stall holders gallantly put a screened area up, but of course, with their space being a premium, that has to be limited to a free standing flimsy wooden and cloth screen. You see someone rather broad in the beam take a garment toward it and think ‘You imagine you’ll get into that? You won’t even fit in the changing room my friend!’. Strange how I turn into Gok Wan at these things! The sides wobble and the structure teeters as elbows and other extremities bump it from the inside, before an ill-advised 360 degree turn lifts one of the curtains to reveal a breath-taking view, to the rhythmic sound of jaws hitting the floor, and jokes about where to park your bike. What’s holding that all in? The collective will of everyone else in the hall that’s what! An embarrassed partner rearranges the curtains and eventually they exit, suggesting the garment ‘was a little too tight’….(!).
You can get a vintage cuppa in a vintage tea room, with vintage crockery at some of these as well, where the tea is so vintage the sugar cube bounces out of it, or so weak you can see the bottom of the cup. You could get a vintage slice of the type of Victoria sponge they served in the war. I don’t want to be ‘that’ person, but 2oz of butter, 1 egg and 8oz sugar a week, WWII rationed, doth not a Vicki sponge make 😉
Then there it is, an oasis in a desert of mediocrity, the real fifties vendor with rails and shelves of beauty. There’s Gabardine, Rayon, a multitude of Pendleton, Arrow, Paddle & Saddle, H bar C, drop loop pegs, hand painted ties and Lucite jewellery and bags. We Jete and Glissade from one side of the stall to the other, stuff fits, it’s been looked after, it’s arranged properly and the people are knowledgeable. And they take cards!!!!
On balance (though not bank balance), I reckon, for the sheer gratification of finding something that someone must have had you in mind for in 1956, makes it thoroughly worthwhile.
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
Anyone who knows us, won’t be surprised to know that it’s usually the clothing we’d go for. We stand in the entrance area and visually sweep the room radar stylie with the occasional high pitched ‘ping’ sound. Drawn as we are to forties and fifties clothing, it’s actually a pleasant experience to come across a genuine article in good nick amongst some of the decrepitude, that’s not some poorly conceived repro article slipped in an attempting to command top dollar. Or a ‘Frankie Says Relax’ T-shirt*
Trying stuff on in these places is not always conducive. Some stall holders gallantly put a screened area up, but of course, with their space being a premium, that has to be limited to a free standing flimsy wooden and cloth screen. You see someone rather broad in the beam take a garment toward it and think ‘You imagine you’ll get into that? You won’t even fit in the changing room my friend!’. Strange how I turn into Gok Wan at these things! The sides wobble and the structure teeters as elbows and other extremities bump it from the inside, before an ill-advised 360 degree turn lifts one of the curtains to reveal a breath-taking view, to the rhythmic sound of jaws hitting the floor, and jokes about where to park your bike. What’s holding that all in? The collective will of everyone else in the hall that’s what! An embarrassed partner rearranges the curtains and eventually they exit, suggesting the garment ‘was a little too tight’….(!).
You can get a vintage cuppa in a vintage tea room, with vintage crockery at some of these as well, where the tea is so vintage the sugar cube bounces out of it, or so weak you can see the bottom of the cup. You could get a vintage slice of the type of Victoria sponge they served in the war. I don’t want to be ‘that’ person, but 2oz of butter, 1 egg and 8oz sugar a week, WWII rationed, doth not a Vicki sponge make 😉
Then there it is, an oasis in a desert of mediocrity, the real fifties vendor with rails and shelves of beauty. There’s Gabardine, Rayon, a multitude of Pendleton, Arrow, Paddle & Saddle, H bar C, drop loop pegs, hand painted ties and Lucite jewellery and bags. We Jete and Glissade from one side of the stall to the other, stuff fits, it’s been looked after, it’s arranged properly and the people are knowledgeable. And they take cards!!!!
On balance (though not bank balance), I reckon, for the sheer gratification of finding something that someone must have had you in mind for in 1956, makes it thoroughly worthwhile.
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
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Domino's next gig, click flyer for details
Dot…dot. Best tracks in the world ever ever to flatten your pancake for this month are ‘Let’s Go-Pony’ by the Routers, ‘King Fool’ by the Planet Rockers and ‘My Colour is Blue’ by Nicky James…..When you watch a DJ show online, and the DJ looks into the device they’re broadcasting from, it can seem like they are looking directly at you, slightly disapprovingly, while you’re doing the breaststroke through a sea of Doritos (other Delta shaped flavoured tortilla chips are available) at home…..*Of course for people my age, Frankie used to say ‘ooer no missus no’ and ‘titter ye not’. Ask you grandparents kids (when you can actually meet them again)………
This magazine was written while we were still under Covid-19 restrictions. For this month readers, we decide not to mention all the DJ sets that have kept us going throughout the last six months. No, we won’t be mentioning the return of Simon Flintstone in the valleys on Sundays, the continuation of Rockin’ Roland’s themed sets on a Saturday night or Adrian Waters in the afternoons on the weekend. We’ll be darned if we will even hint at Thee Vanessa Holmes show, and the increasing population digging Dave Flat Top Phillips sounds.
We will not cite top shows by Bradford Dude, Steph Brian, Voodoo Doll, Jay Cee, Robin Summerfield, John Macleod and Andy Munday. No not this time 😉
Of course, we should mention the Domino Rock n Roll Club Lockdown DJ Jamboree Rockin Party though. Once again, your host, Nigel ‘Domino’ Babb presented some quality DJs in his own inimitably enthusiastic style, over the evening of August 22nd. A quick role-call for you, Trev Collins, Chris ‘Sharky’ Nichols, Simon Moon, the afore mentioned Dave Flat Top with Vanessa, Cat Talk Lee. It’s so impressive to see people’s vast collections of records and music and have them showcase it. Credit to Nigel for keeping up the quality of DJ he’s having play for him/us. The next one is scheduled for the 19th of September with another stellar line up, see flyer above.
This magazine was written while we were still under Covid-19 restrictions. For this month readers, we decide not to mention all the DJ sets that have kept us going throughout the last six months. No, we won’t be mentioning the return of Simon Flintstone in the valleys on Sundays, the continuation of Rockin’ Roland’s themed sets on a Saturday night or Adrian Waters in the afternoons on the weekend. We’ll be darned if we will even hint at Thee Vanessa Holmes show, and the increasing population digging Dave Flat Top Phillips sounds.
We will not cite top shows by Bradford Dude, Steph Brian, Voodoo Doll, Jay Cee, Robin Summerfield, John Macleod and Andy Munday. No not this time 😉
Of course, we should mention the Domino Rock n Roll Club Lockdown DJ Jamboree Rockin Party though. Once again, your host, Nigel ‘Domino’ Babb presented some quality DJs in his own inimitably enthusiastic style, over the evening of August 22nd. A quick role-call for you, Trev Collins, Chris ‘Sharky’ Nichols, Simon Moon, the afore mentioned Dave Flat Top with Vanessa, Cat Talk Lee. It’s so impressive to see people’s vast collections of records and music and have them showcase it. Credit to Nigel for keeping up the quality of DJ he’s having play for him/us. The next one is scheduled for the 19th of September with another stellar line up, see flyer above.
The Summertime Kings
My goodness, it’s you! A gig, a gig, we can go to a gig, five months without, and finally a live band and DJ. The event was courtesy of Boston Jive, and the Jivin’ Drive-In at Hubberts Bridge. With social-distancing the current buzz-phrase, organisers Claire and Neil Seabrook had gone the extra mile (or metre), marking out the car park with yellow and black stripy tape in 3m squares with designated walkways in between, and a ‘do not approach any closer’ area around the DJ and band area.
You can plan to the n’th degree, but often with everything outdoors in Britain, it can be the elements that dictate the mood. To be honest though readers, the amount of time it’s been since we (and everyone else) have seen real people outside of family bubbles, it wouldn’t have mattered if it had rained golf balls. Fortunately, it didn’t, with the exception of two sharp downpours.
The last ‘proper’ gig we went to was a Boston Jive event in Old Leake, featuring the Summertime Kings in support of Ray Collins Hot Club with Mister Big Feet on sounds. First gig back and what do you know, the Summertime Kings (check out their interview below) with Mister Big Feet on sounds. Before you got there though, you’d have registered your attendance and the car in which you were travelling. That was your ‘bubble’. You parked and had your own seating on the driver’s side of the vehicle. You danced if you wanted to, with members of your bubble.
So, after the first half hour or so of ‘oh it’s you’ recognition, everyone got into to the gig with Ross on the decks mixing up the flavours. The Summertime Kings played three sets, looking sharp in their black outfits in the sunshine. After ‘One Heart to Spare’ opened up the proceedings, they took on two dance floor winners, the Cliques ‘I’m in Love With a Girl’ and the Capris’ ‘Morse Code of Love’ with considerable vocal aplomb. A couple of Elvis standards ‘Shoppin’ Around’ and ‘Stuck on You’ rubbed shoulders with some rocking out to Buddy’s ‘Looking for Someone to Love’. I think it was ‘This Little Girl of Mine’ that co-incided with a hefty rain shower, and the end of the first set.
The rain gone, and the sun came out, so the ‘floor’ filled again. Set two for the lads opened with a kicking take on Gene Summers’ ‘Fancy Dan’ and a cover of the Jets ‘You Just Don’t Know How To Treat Your Man’. Particularly noteworthy also in set two was the a cappella start to ‘Hello Mary Lou’ and Gayten/Johnson’s ‘Red Hot Mama’.
Third set and more variety, from the likes of Fats Domino, through Dion, Charlie Rich and Go Cat Go, with ‘Be My Guest’, ‘Runaround Sue’, ‘Midnight Blues’ and ‘Forever’s Much Too Long’. The Country Side of Harmonica Sam’s cover of Coy Jackson’s ‘Look Out Heart’ has become an established floor filler, and there was not a taped out square to be had as the ‘Kings took it on in their own style.
Dagnabit it was good to be back readers, much credit goes to the Hubbert’s Bridge organisation and Claire and Neil Seabrook for putting this on. All legal and above board for those who continue to spout vitriol on social media. The occupants of the thirty six cars that showed up, were served up a professionally conceived and well executed event. Smashing.
The images below are in a gallery, click on each picture for full sized image
You can plan to the n’th degree, but often with everything outdoors in Britain, it can be the elements that dictate the mood. To be honest though readers, the amount of time it’s been since we (and everyone else) have seen real people outside of family bubbles, it wouldn’t have mattered if it had rained golf balls. Fortunately, it didn’t, with the exception of two sharp downpours.
The last ‘proper’ gig we went to was a Boston Jive event in Old Leake, featuring the Summertime Kings in support of Ray Collins Hot Club with Mister Big Feet on sounds. First gig back and what do you know, the Summertime Kings (check out their interview below) with Mister Big Feet on sounds. Before you got there though, you’d have registered your attendance and the car in which you were travelling. That was your ‘bubble’. You parked and had your own seating on the driver’s side of the vehicle. You danced if you wanted to, with members of your bubble.
So, after the first half hour or so of ‘oh it’s you’ recognition, everyone got into to the gig with Ross on the decks mixing up the flavours. The Summertime Kings played three sets, looking sharp in their black outfits in the sunshine. After ‘One Heart to Spare’ opened up the proceedings, they took on two dance floor winners, the Cliques ‘I’m in Love With a Girl’ and the Capris’ ‘Morse Code of Love’ with considerable vocal aplomb. A couple of Elvis standards ‘Shoppin’ Around’ and ‘Stuck on You’ rubbed shoulders with some rocking out to Buddy’s ‘Looking for Someone to Love’. I think it was ‘This Little Girl of Mine’ that co-incided with a hefty rain shower, and the end of the first set.
The rain gone, and the sun came out, so the ‘floor’ filled again. Set two for the lads opened with a kicking take on Gene Summers’ ‘Fancy Dan’ and a cover of the Jets ‘You Just Don’t Know How To Treat Your Man’. Particularly noteworthy also in set two was the a cappella start to ‘Hello Mary Lou’ and Gayten/Johnson’s ‘Red Hot Mama’.
Third set and more variety, from the likes of Fats Domino, through Dion, Charlie Rich and Go Cat Go, with ‘Be My Guest’, ‘Runaround Sue’, ‘Midnight Blues’ and ‘Forever’s Much Too Long’. The Country Side of Harmonica Sam’s cover of Coy Jackson’s ‘Look Out Heart’ has become an established floor filler, and there was not a taped out square to be had as the ‘Kings took it on in their own style.
Dagnabit it was good to be back readers, much credit goes to the Hubbert’s Bridge organisation and Claire and Neil Seabrook for putting this on. All legal and above board for those who continue to spout vitriol on social media. The occupants of the thirty six cars that showed up, were served up a professionally conceived and well executed event. Smashing.
The images below are in a gallery, click on each picture for full sized image
Rusty of Razor Holler (library pic from last year's Rumble)
No need to be so ‘picky’. On the third day of the Music Making a Difference for Plaza Online Festival, at the Salt Barge, Northwich Plaza, we were in place to catch up with one of our favourite four piece bands, Razor Holler. Well, in front of a computer screen anyway. Danny on guitar, Alan drumming, Helen slapping and Rusty on guitar and vocals served up an absolute treat of a set, expertly filmed and presented by the MMAD technicians.
They hit the ground running with their own composition ‘Rheumatism Boogie’, containing one of my favourite lines ‘Jumping from six to five past six’, and followed up with ‘Down the Road A Piece’ from as far back as 1940. Rusty, still sporting his furlough locks, has a very dry and deadpan speaking voice to link the songs, as he segued to ‘Don’t Be So Picky’, another Razor Holler original, performed in a country Rockabilly style.
They hit the ground running with their own composition ‘Rheumatism Boogie’, containing one of my favourite lines ‘Jumping from six to five past six’, and followed up with ‘Down the Road A Piece’ from as far back as 1940. Rusty, still sporting his furlough locks, has a very dry and deadpan speaking voice to link the songs, as he segued to ‘Don’t Be So Picky’, another Razor Holler original, performed in a country Rockabilly style.
On stage at MMAD (click pic for their site)
Rocking up a bit next was Ersel Hickey’s ‘Going Down That Road’, before a sublime take on Carl Perkins’ ‘Lend Me Your Comb’, with Webb Pierce’s ‘Walking the Dog’. Jimmy Skinner’s ‘How Low Do You Feel’, that many will be familiar with as sung by Ray Campi, got the treatment, with clever work between electric and acoustic guitars. When bands take on Gene Vincent’s back catalogue, they rarely consider songs like ‘Rollin’ Danny’ (from Gene’s 3rd album). These guys do, and they showcase it very well. Making it country again, ‘Tall Tall Trees’, followed by a rip roaring sing a long song, Billy Grammer’s 1959 hit ‘Gotta Travel On’.
A memorable set concluded with their own surf instrumental, ‘Razor Holler’ which is simply exceptional, heavy on drums, cymbals and guitar reverb, and a kind of Link Wray/Ventures/Sufaris mash up. You could hear the applause outside the building, appreciating the quality on show. Cracking set.
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
A memorable set concluded with their own surf instrumental, ‘Razor Holler’ which is simply exceptional, heavy on drums, cymbals and guitar reverb, and a kind of Link Wray/Ventures/Sufaris mash up. You could hear the applause outside the building, appreciating the quality on show. Cracking set.
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
Rockabilly Blowout #7 Update
It's with deep deep regret we are having to postpone Rockabilly Blowout event until 5thh November 2021 .
We have exhausted every opportunity to try and get this event on but unfortunately with most of the band coming from USA and Europe and all the different conditions in place its virtually impossible.
All bands have given me there support and will be playing next year .
All djs stall holders have confirmed for next year ..
Everything this year on the event will be carried over for next year .
All tickets will be carried over for next and if you have booked a room at Drayton Manor Park Hotel that will be carried over too..
Please note that this event is not cancelled but postponed.
Myself Harry and the team would like to thank you for your continued support and money raised for Asthma uk . You have raised over £15000 and still in the pandemic raising money with help from Stuart Goodwin..
Take care
Keep Rockin
Be safe
Love to you all
Kev Harry and team
It's with deep deep regret we are having to postpone Rockabilly Blowout event until 5thh November 2021 .
We have exhausted every opportunity to try and get this event on but unfortunately with most of the band coming from USA and Europe and all the different conditions in place its virtually impossible.
All bands have given me there support and will be playing next year .
All djs stall holders have confirmed for next year ..
Everything this year on the event will be carried over for next year .
All tickets will be carried over for next and if you have booked a room at Drayton Manor Park Hotel that will be carried over too..
Please note that this event is not cancelled but postponed.
Myself Harry and the team would like to thank you for your continued support and money raised for Asthma uk . You have raised over £15000 and still in the pandemic raising money with help from Stuart Goodwin..
Take care
Keep Rockin
Be safe
Love to you all
Kev Harry and team
YOU COULD WIN A 1954 GMC V8 Pick Up Truck (see photos) in the prize draw competition which will be independently made by Sian Dorwood of the MS Society in Cardiff (0291 678920). There are just 3000 tickets being offered and to have a chance of winning this unique one-off prize you can get a ticket for just £10.00 at www.jivecompetitions.co.uk. For further information, you can phone Phil Robinson on 07599002689 - Best of Luck.
PS For those that would like to check this competition out before buying tickets it is so easy to do so; Sian Dorwood of the MS Society in Cardiff will be making the draw, her e mail is [email protected] my number (Phil Robinson) is 07599002689 and I live at Woodlands, Bargoed, CF81 8PQ. We would like to see the truck won by someone, raise £4,500 for the MS Society and give a £1,000 to a local club to keep live rock 'n' roll going.
Hopefully we can sell all 3000 tickets but as of today our target to break even, present the truck as the prize and benefit the MS Society is to sell just 748 tickets and I am sure with your help we can do this. So get your ticket now at www.jivecompetitions.co.uk and best of luck.
PS For those that would like to check this competition out before buying tickets it is so easy to do so; Sian Dorwood of the MS Society in Cardiff will be making the draw, her e mail is [email protected] my number (Phil Robinson) is 07599002689 and I live at Woodlands, Bargoed, CF81 8PQ. We would like to see the truck won by someone, raise £4,500 for the MS Society and give a £1,000 to a local club to keep live rock 'n' roll going.
Hopefully we can sell all 3000 tickets but as of today our target to break even, present the truck as the prize and benefit the MS Society is to sell just 748 tickets and I am sure with your help we can do this. So get your ticket now at www.jivecompetitions.co.uk and best of luck.
Interview with Ed Stephenson of the Revolutionaires
Ed Stephenson, is the lead singer, guitarist, harmonica player and pianist, with North East England’s Rhythm and Blues outfit The Revolutionaires, and Rock n Roll combo Juke Box Jive. We’ve lost count of the number of times we’ve seen them play in clubs, at festivals and weekenders. So we thought an interview with Ed was long overdue.
BJR. So, when did your interest in 40’s and 50’s style music start?
ES Well from a very early age actually as myself and brother Rich (Bassist in The Revs) were both brought up on that style of music as our parents were from that era.
As far back as I can remember I was listening to my Dad’s record collection which consisted of Little Richard, Chuck Berry, Fats Domino, Elvis, Buddy Holly, BB King, Everly Brothers and even some country with Hank Williams, Patsy Cline and Don Gibson.
BJR. What prompted you to take up the guitar? And who taught you?
ES Again my Dad was a huge influence on me as he played guitar and harmonica as well so he really set me off down that road which I’ll be always be eternally grateful!!
BJR. Do you have particular guitarists that you admire and whose style have influenced yours?
ES As any guitarist I’ve been influenced by lots of players but to name a few I’d have to say Chuck Berry, T Bone Walker, BB King and more modern players such as Stevie Ray Vaughan, Duke Robillard and Brian Setzer
BJR. Do you recall your first band and performance?
ES Yes I played in my Dad’s band called “The Steve Eddy Blues Band” when I was 15 years old and did my first gig. Think I’ve got a recording on tape somewhere!!
BJR. What came first, Juke Box Jive or the Revolutionaires?
ES Juke Box Jive was first, myself and Rich started this in 1993 and then The Revs started in 2002, initially as a side project but soon became our main band
BJR. When did you turn professional, and did you have what’s loosely called, a ‘proper job’ prior to that?
ES What’s one them?? Ha Ha. No never had a job, I’ve been very lucky to be a full-time professional musician since I left school and started up Juke Box Jive back in 1993, feel old now!!
I’ve always been prepared to travel as well though, not just all over the UK but abroad too and this has enabled us to be a full-time band
Ed Stephenson, is the lead singer, guitarist, harmonica player and pianist, with North East England’s Rhythm and Blues outfit The Revolutionaires, and Rock n Roll combo Juke Box Jive. We’ve lost count of the number of times we’ve seen them play in clubs, at festivals and weekenders. So we thought an interview with Ed was long overdue.
BJR. So, when did your interest in 40’s and 50’s style music start?
ES Well from a very early age actually as myself and brother Rich (Bassist in The Revs) were both brought up on that style of music as our parents were from that era.
As far back as I can remember I was listening to my Dad’s record collection which consisted of Little Richard, Chuck Berry, Fats Domino, Elvis, Buddy Holly, BB King, Everly Brothers and even some country with Hank Williams, Patsy Cline and Don Gibson.
BJR. What prompted you to take up the guitar? And who taught you?
ES Again my Dad was a huge influence on me as he played guitar and harmonica as well so he really set me off down that road which I’ll be always be eternally grateful!!
BJR. Do you have particular guitarists that you admire and whose style have influenced yours?
ES As any guitarist I’ve been influenced by lots of players but to name a few I’d have to say Chuck Berry, T Bone Walker, BB King and more modern players such as Stevie Ray Vaughan, Duke Robillard and Brian Setzer
BJR. Do you recall your first band and performance?
ES Yes I played in my Dad’s band called “The Steve Eddy Blues Band” when I was 15 years old and did my first gig. Think I’ve got a recording on tape somewhere!!
BJR. What came first, Juke Box Jive or the Revolutionaires?
ES Juke Box Jive was first, myself and Rich started this in 1993 and then The Revs started in 2002, initially as a side project but soon became our main band
BJR. When did you turn professional, and did you have what’s loosely called, a ‘proper job’ prior to that?
ES What’s one them?? Ha Ha. No never had a job, I’ve been very lucky to be a full-time professional musician since I left school and started up Juke Box Jive back in 1993, feel old now!!
I’ve always been prepared to travel as well though, not just all over the UK but abroad too and this has enabled us to be a full-time band
BJR. The Revolutionaires have a full and gutsy sound. You take songs and give them a twist in your own style, taking ‘Riot In Cell Block Number Nine’ as an example. What influences your choices?
ES Yea we like to give songs “The Revs Treatment” as such! Basically I’m a big believer in putting your own stamp on songs you do. A lot of the time I just come up with a catchy guitar riff and then think of what kind of song could work with that. It doesn’t have to be a specific song just anything which I think could gel with the riff. With “Cell Block” it was more the words that really caught my attention, as you know the original is quite slow but I just thought it would work with that Blues Bopper type guitar chop and it did, thankfully!!
BJR. Your audience I guess, almost dictate your playlist, however are there special songs that you, and indeed members of the band, insist on playing during the live set?
ES Obviously you need to read the audience and adapt your set accordingly for that night but there are certain songs in our repertoire that we find just go down really well regardless of who’s in the crowd. Songs like Shake Your Hips, Tequila, Eddie Boy’s Jump, Roll Over Beethoven, Last Night, Misirlou, Riot In Cell Block #9, The Bad Ass Boogie Woogie. These kind of songs just seem to appeal to almost everyone who comes to a Revs gig!
BJR. One of the ‘go-to’s of a Revolutionaires’ set is ‘Eddie’s Blues’, a frantic harmonica solo from yourself. Did you compose it? How did it come about?
ES I did yes although I was definitely influenced by the great British harp player called Paul Lamb, as I was listening to a lot of his stuff around that time. Another influence on that track was Sonny Terry as well. I’d also bought myself a Green Bullet Harp Mic which gives a really cool dirty blues sound when played through and that’s when I composed Eddie Boy’s Jump! It’s been a very requested song over the years though which I’m very happy about
BJR. The Revolutionaires Big Band, tell us about that
ES Well I’d had the idea to use some extra Horns for awhile and decided to finally incorporate them back in 2010 on The Have Love Will Travel Album. They worked on the album so used them again on The Joker Royale Album in 2013, again they proved to be a success so it was just a matter of time before we played Live with extra brass. Obviously touring with a 8 piece band can be very expensive to run and to hire so we’re limited to how many gigs we do with The Big Band. It’s mainly Festival work we pick up but it’s good fun having that huge sound behind you!!
BJR. Last year, you had surgery on your throat/vocal chords. The first most people were aware of it was at Hemsby, when you weren’t singing. That must’ve been a pretty awful time. How has the rehabilitation been with your voice?
ES Yes in April 2019 I had 2 nodules removed from my vocal chords so had to take 3 months off from singing. It was a tough time but necessary for future singing. We had L’il Miss Mary and Neil Wilde covering vocals for me over that period and they both did a great job!!
My voice has healed although not back to full strength and power but I don’t think it will get back to how it was before the op! 27 years of full-time gigging can take it’s toll I guess but I am very happy that I can still sing I just throw a few more instrumentals in the set these days!
BJR. Covid 19 has wiped out pretty much everyone’s social life and affected businesses immeasurably. What does a musician like yourself do during these times, and are you now seeing events returning at all?
ES It certainly has! Well because we run the band as a full-time professional business we’ve been eligible to claim the Government Self-Employed Grant so from a financial aspect that has helped us out a lot. We picked up a few outside gigs through the Summer and I did a couple of Solo Live Stream gigs but nearly all gigs from March onwards this year have been cancelled! Hopefully 2021 will return to some form of normality
BJR. Plans for the future, recordings and the like (post Covid)
ES Well most of our gigs this year have either been cancelled or rescheduled to 2021 because of Covid so really I’m just waiting to see how things pan out once this all calms down before starting any new projects.
BJR. How can people get in touch for further information?
ES You can check us out on Facebook on www.facebook.com/therevolutionairesofficial
Website is www.revolutionaires.co.uk
For bookings contact myself on +44 (0)7903541488 or [email protected]
BJR. Thank you Ed
ES Yea we like to give songs “The Revs Treatment” as such! Basically I’m a big believer in putting your own stamp on songs you do. A lot of the time I just come up with a catchy guitar riff and then think of what kind of song could work with that. It doesn’t have to be a specific song just anything which I think could gel with the riff. With “Cell Block” it was more the words that really caught my attention, as you know the original is quite slow but I just thought it would work with that Blues Bopper type guitar chop and it did, thankfully!!
BJR. Your audience I guess, almost dictate your playlist, however are there special songs that you, and indeed members of the band, insist on playing during the live set?
ES Obviously you need to read the audience and adapt your set accordingly for that night but there are certain songs in our repertoire that we find just go down really well regardless of who’s in the crowd. Songs like Shake Your Hips, Tequila, Eddie Boy’s Jump, Roll Over Beethoven, Last Night, Misirlou, Riot In Cell Block #9, The Bad Ass Boogie Woogie. These kind of songs just seem to appeal to almost everyone who comes to a Revs gig!
BJR. One of the ‘go-to’s of a Revolutionaires’ set is ‘Eddie’s Blues’, a frantic harmonica solo from yourself. Did you compose it? How did it come about?
ES I did yes although I was definitely influenced by the great British harp player called Paul Lamb, as I was listening to a lot of his stuff around that time. Another influence on that track was Sonny Terry as well. I’d also bought myself a Green Bullet Harp Mic which gives a really cool dirty blues sound when played through and that’s when I composed Eddie Boy’s Jump! It’s been a very requested song over the years though which I’m very happy about
BJR. The Revolutionaires Big Band, tell us about that
ES Well I’d had the idea to use some extra Horns for awhile and decided to finally incorporate them back in 2010 on The Have Love Will Travel Album. They worked on the album so used them again on The Joker Royale Album in 2013, again they proved to be a success so it was just a matter of time before we played Live with extra brass. Obviously touring with a 8 piece band can be very expensive to run and to hire so we’re limited to how many gigs we do with The Big Band. It’s mainly Festival work we pick up but it’s good fun having that huge sound behind you!!
BJR. Last year, you had surgery on your throat/vocal chords. The first most people were aware of it was at Hemsby, when you weren’t singing. That must’ve been a pretty awful time. How has the rehabilitation been with your voice?
ES Yes in April 2019 I had 2 nodules removed from my vocal chords so had to take 3 months off from singing. It was a tough time but necessary for future singing. We had L’il Miss Mary and Neil Wilde covering vocals for me over that period and they both did a great job!!
My voice has healed although not back to full strength and power but I don’t think it will get back to how it was before the op! 27 years of full-time gigging can take it’s toll I guess but I am very happy that I can still sing I just throw a few more instrumentals in the set these days!
BJR. Covid 19 has wiped out pretty much everyone’s social life and affected businesses immeasurably. What does a musician like yourself do during these times, and are you now seeing events returning at all?
ES It certainly has! Well because we run the band as a full-time professional business we’ve been eligible to claim the Government Self-Employed Grant so from a financial aspect that has helped us out a lot. We picked up a few outside gigs through the Summer and I did a couple of Solo Live Stream gigs but nearly all gigs from March onwards this year have been cancelled! Hopefully 2021 will return to some form of normality
BJR. Plans for the future, recordings and the like (post Covid)
ES Well most of our gigs this year have either been cancelled or rescheduled to 2021 because of Covid so really I’m just waiting to see how things pan out once this all calms down before starting any new projects.
BJR. How can people get in touch for further information?
ES You can check us out on Facebook on www.facebook.com/therevolutionairesofficial
Website is www.revolutionaires.co.uk
For bookings contact myself on +44 (0)7903541488 or [email protected]
BJR. Thank you Ed
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cd reviews
The Puppini Sisters – Dance Dance Dance
When it was, I’m not sure, nor can I recall where. But I seem to recall it was Loose Women on TV where we first heard the close harmonies of the Puppini Sisters. Close harmonies that immediately had us thinking about other ‘sister’ bands of a similar ilk, The Andrews and the Boswells for example. The Puppini Sisters had an elegance and sophistication about their delivery, often dusting off original oddities from way, way back, bringing their own style to latter day tunes, and in some cases presenting their own material. This is a ‘sister’ band that actually aren’t sisters, they are Marcella Puppini, who formed the band in 2004, Kate Mullins and Emma Smith. Here they are in 2020, collaborating with the Pasadena Roof Orchestra, a big band specialising in sounds of the 1920’s and 30’s, with decades of performing experience and shows under their collective belts.
We open, with a cover of Dolly Parton’s ‘9 to 5’, a song written by her for the 1980 film comedy of the same name. I guess the Puppini Sisters often get saddled with the novelty pastiche tag, but put that aside and just allow your mood to be lifted by the feel-good sound of the vocals and bounce of the musical accompaniment. It might sound odd suggesting a forty-year-old song is given the retro feel, but on this occasion, it’s transformed into a swing dance wonder
In a similar vein, Witney Houston’s ‘I Wanna Dance With Somebody’ originally from Houston’s second studio album in 1987. Whilst the original was definitive 80’s dance pop, this version has the perfect timbre for the ladies’ vocals. Next up a take on Louis Prima’s ‘Sing Sing Sing’, originally from 1936, and firstly set to a Foxtrot beat, as opposed to the lengthy instrumental versions of the Swing Era. Tell you what readers, this is a cracking Lindy Hop version. It’s rather pointless to offer a like-for-like copy of a classic track like this, so the Sisters make it their own with stop-starts and vocal nuances galore.
Wind on now, to a smooth and sultry ballad, ‘Shallow’. If you’re not too familiar with the works of Lady Gaga and Bradley Cooper in the romantic drama, ‘A Star is Born’, this song was performed at a pivotal moment in the film, which we won’t spoil if you haven’t seen it. This version has the late-night, smoky bar feel, and much of this goes to the sublime Big Band arrangement by Simon Townley, as well as the exquisite delivery of the vocals.
The title track ‘Dance Dance Dance’ is a Puppini Sisters original, and it’s a zippy, scat vocal Charleston beat to start, with a super smooth vocal harmony against an upright bass beat in a stop-start stylie before reaching a crescendo with added snap-snap-tap-tap. ‘Ba Ba Baciami Piccina’ was originally written in Italian in 1940, and popularised in English by Rosemary Clooney in 1952, with the usual harpsichord odd-ballery you’d associate with her. Here we have a combination of both, Marcella Puppini is Italian born, set to the catchiest beat that will set the tiredest of toes a-tapping.
Billy Fury’s ‘Jealousy’ was a number two hit, which came between ‘Halfway to Paradise’ and ‘I’d Never Find Another You’. It had a Tango rhythm, which the Puppini Sisters have retained on their version, and you’ll love the change up in tempo throughout, which is done seamlessly. For people of our vintage, ABBA was the soundtrack to our youth, and here is ‘Dancing Queen’ from 1976, given the phat big band sound of Adrian Fry’s arrangement, as the ‘Sisters transform the song into a Cha-Cha-Cha, with really effective choral chanting. Just a minute, there’s a male voice! Yes, it’s Duncan Galloway, lead singer and manager of the Pasadena Roof Orchestra, starting the well-known tale of ‘Mack The Knife’. Here’s a song from as early as 1928, and the Threepenny Opera, made most famous by Bobby Darin in 1959. With the call and answer style of this classic Swing-Jive number so well presented, this take is simply sublime, smooth and faultless in every way.
Next up, I must admit, ‘I Put a Spell on You’ raised an eyebrow, when I saw it on the track listing. How would Screamin’ Jay Hawkins’ almost cannibalistic sounding 1956 track, transfer to the harmony vocals of the Puppini Sisters? Well as with almost everything on this CD, they give it their own twist, injecting a mambo beat, and a haunting, echoey sound to the vocals. It’s as far removed from the original as you could imagine, and hugely enjoyable.
Not only do these ladies put their own slew on classic songs, they occasionally adjust the words to bring them slightly more up to date. Such is the case with Irving Berlin’s ‘Putting on the Ritz’ from 1927, supposedly influenced by the opulence of the Ritz hotel in London. Some of the lyrics and names have been updated, such as Alice Cooper instead of Gary Cooper, which doesn’t detract from the original tap sound.
In 1990, so many of the population in the UK got their first taste of MTV, us included, and Deee-Lite’s ‘Groove in the Heart’ was prominent on just about every program. So how would the Puppini Sisters, replicate Lady Miss Kier’s vocals, conjuring up images of her harlequin zip-up catsuit, and the sliding whistle interjections. Well, they take the 90’s techno sound and change it for a Boogie Woogie cadence. Loving the upright bass work on this too. Top drawer.
There’s a bonus track too. Cole Porter’s ‘Don’t Fence Me In’, which Roy Rogers famously sang in Hollywood Canteen. Bing Crosby and the Andrews Sisters’ version in 1944, sold over a million copies, and it’s that version that’s replicated perfectly here. Once again, we have the silky-smooth male vocal talents of Duncan Galloway, this time taking the ‘Bing’ role, the flawless complementary chorus from the ladies, and a fitting end to a brilliant album.
If you’re new to the sound of the Puppini Sisters or a long-time follower, you’ll love this collection of tunes and styles. The vocals, the musical accompaniment and the production is first rate. Simply put, it’s class!
The release date is set for the 25th September, check out https://www.thepuppinisisters.com/
When it was, I’m not sure, nor can I recall where. But I seem to recall it was Loose Women on TV where we first heard the close harmonies of the Puppini Sisters. Close harmonies that immediately had us thinking about other ‘sister’ bands of a similar ilk, The Andrews and the Boswells for example. The Puppini Sisters had an elegance and sophistication about their delivery, often dusting off original oddities from way, way back, bringing their own style to latter day tunes, and in some cases presenting their own material. This is a ‘sister’ band that actually aren’t sisters, they are Marcella Puppini, who formed the band in 2004, Kate Mullins and Emma Smith. Here they are in 2020, collaborating with the Pasadena Roof Orchestra, a big band specialising in sounds of the 1920’s and 30’s, with decades of performing experience and shows under their collective belts.
We open, with a cover of Dolly Parton’s ‘9 to 5’, a song written by her for the 1980 film comedy of the same name. I guess the Puppini Sisters often get saddled with the novelty pastiche tag, but put that aside and just allow your mood to be lifted by the feel-good sound of the vocals and bounce of the musical accompaniment. It might sound odd suggesting a forty-year-old song is given the retro feel, but on this occasion, it’s transformed into a swing dance wonder
In a similar vein, Witney Houston’s ‘I Wanna Dance With Somebody’ originally from Houston’s second studio album in 1987. Whilst the original was definitive 80’s dance pop, this version has the perfect timbre for the ladies’ vocals. Next up a take on Louis Prima’s ‘Sing Sing Sing’, originally from 1936, and firstly set to a Foxtrot beat, as opposed to the lengthy instrumental versions of the Swing Era. Tell you what readers, this is a cracking Lindy Hop version. It’s rather pointless to offer a like-for-like copy of a classic track like this, so the Sisters make it their own with stop-starts and vocal nuances galore.
Wind on now, to a smooth and sultry ballad, ‘Shallow’. If you’re not too familiar with the works of Lady Gaga and Bradley Cooper in the romantic drama, ‘A Star is Born’, this song was performed at a pivotal moment in the film, which we won’t spoil if you haven’t seen it. This version has the late-night, smoky bar feel, and much of this goes to the sublime Big Band arrangement by Simon Townley, as well as the exquisite delivery of the vocals.
The title track ‘Dance Dance Dance’ is a Puppini Sisters original, and it’s a zippy, scat vocal Charleston beat to start, with a super smooth vocal harmony against an upright bass beat in a stop-start stylie before reaching a crescendo with added snap-snap-tap-tap. ‘Ba Ba Baciami Piccina’ was originally written in Italian in 1940, and popularised in English by Rosemary Clooney in 1952, with the usual harpsichord odd-ballery you’d associate with her. Here we have a combination of both, Marcella Puppini is Italian born, set to the catchiest beat that will set the tiredest of toes a-tapping.
Billy Fury’s ‘Jealousy’ was a number two hit, which came between ‘Halfway to Paradise’ and ‘I’d Never Find Another You’. It had a Tango rhythm, which the Puppini Sisters have retained on their version, and you’ll love the change up in tempo throughout, which is done seamlessly. For people of our vintage, ABBA was the soundtrack to our youth, and here is ‘Dancing Queen’ from 1976, given the phat big band sound of Adrian Fry’s arrangement, as the ‘Sisters transform the song into a Cha-Cha-Cha, with really effective choral chanting. Just a minute, there’s a male voice! Yes, it’s Duncan Galloway, lead singer and manager of the Pasadena Roof Orchestra, starting the well-known tale of ‘Mack The Knife’. Here’s a song from as early as 1928, and the Threepenny Opera, made most famous by Bobby Darin in 1959. With the call and answer style of this classic Swing-Jive number so well presented, this take is simply sublime, smooth and faultless in every way.
Next up, I must admit, ‘I Put a Spell on You’ raised an eyebrow, when I saw it on the track listing. How would Screamin’ Jay Hawkins’ almost cannibalistic sounding 1956 track, transfer to the harmony vocals of the Puppini Sisters? Well as with almost everything on this CD, they give it their own twist, injecting a mambo beat, and a haunting, echoey sound to the vocals. It’s as far removed from the original as you could imagine, and hugely enjoyable.
Not only do these ladies put their own slew on classic songs, they occasionally adjust the words to bring them slightly more up to date. Such is the case with Irving Berlin’s ‘Putting on the Ritz’ from 1927, supposedly influenced by the opulence of the Ritz hotel in London. Some of the lyrics and names have been updated, such as Alice Cooper instead of Gary Cooper, which doesn’t detract from the original tap sound.
In 1990, so many of the population in the UK got their first taste of MTV, us included, and Deee-Lite’s ‘Groove in the Heart’ was prominent on just about every program. So how would the Puppini Sisters, replicate Lady Miss Kier’s vocals, conjuring up images of her harlequin zip-up catsuit, and the sliding whistle interjections. Well, they take the 90’s techno sound and change it for a Boogie Woogie cadence. Loving the upright bass work on this too. Top drawer.
There’s a bonus track too. Cole Porter’s ‘Don’t Fence Me In’, which Roy Rogers famously sang in Hollywood Canteen. Bing Crosby and the Andrews Sisters’ version in 1944, sold over a million copies, and it’s that version that’s replicated perfectly here. Once again, we have the silky-smooth male vocal talents of Duncan Galloway, this time taking the ‘Bing’ role, the flawless complementary chorus from the ladies, and a fitting end to a brilliant album.
If you’re new to the sound of the Puppini Sisters or a long-time follower, you’ll love this collection of tunes and styles. The vocals, the musical accompaniment and the production is first rate. Simply put, it’s class!
The release date is set for the 25th September, check out https://www.thepuppinisisters.com/
FTM In The Groove Part One – Various Artists
CD review
As this first CD in the series, is now being repressed to the tune of one hundred copies, we thought we’d run the review we did a year ago, for those who are thinking about ordering themselves a copy
From the Flat Top Mark record label, Mark Phillips presents ‘In The Groove’ Part One, which would suggest that there’s a ‘part two’ and onward. Thirty one tracks on this one, all from vinyl, onto one mighty fine compilation.
A quick scan of the play list, and it’s varied for sure, right from the ‘Peter Gunn’ sounding ‘Snatch The Gun’, which you might want to avert your nan’s attention, during the Overdub Film Mix, cos it’s a bit x-rated. First vocal track, from Kingsize Taylor, who, with the Dominoes, were a British Rock n Roll band in the late ‘50’s, from Liverpool. Consequently, they were there at the start of the beat movement. ‘Money’ featured here, has a foot in both camps.
Raymond Leslie Howard, aka Duffy Power, from the Larry Parnes stable next, with ‘If I Get Lucky Someday’, which was a self penned track on the flip of the Parlophone 45 from 1963, which had Gerschwin’s ‘It Ain’t Necessarily So’ on the A. Decent stroll beat this one. More stroll rhythms follow, with Wanda Jackson, and ‘Whirlpool’. Don’t confuse this with the Billy Walker song of the same name, this one comes from the flip of the single ‘Funnel of Love’ in latter day releases or as the ‘A’ side on the Capitol 45 from ‘62.
Travis Wammack’s incredible guitar playing is next with ‘Firefly 2010’. Difficult to categorise this 1964 instrumental corker from a guitarist that was once touted as the fastest, other than brilliant. The Trippers, I didn’t know much about, and here they are with their version of ‘Keep a’ Knockin’ from 1966, with the Easybeats from Australia, following with ‘She’s so Fine’ from ’65.
There’s frantic vocals from Gino Parks on his Tamala cut from 1961, ‘Samething’, before we get some true class. John Lee Hooker, takes on ‘Money’. His version, has the classic Hooker guitar riff throughout, unmistakable and stylish, the Boogie Man presents a cool take on Berry Gordy Jr’s composition. From blues and boogie to Zydeco music, and Clifton Chenier’s accordion driven ‘Hotrod’. This has influences from Cajun and Creole music, from an artist, once declared as the King of Zydeco. Cool vibe this one, readers.
I tell you what readers, hearing ‘I Ain’t Never’ from Ricky Allen, immediately put me us in mind of Sam Cooke, with his vocal style. This track could have been recorded at any time between ‘50 and when it actually was, in ’66. Excellent stroll beat. It’s the Man in Black next, with a Powerhouse Mix, the basis of which is ‘Big River’, and frequent overdubbed cheers, and John introducing himself. Love it.
It’s weird and fulfilling in equal parts when a track from one of your favourite artists comes up, that you’ve not heard of before. This is the case with Fats Domino’s ‘If You Don’t Know What Love Is’. This cut is from his 1964 Paramount single, and has part in the R&B and part in the Soul camp. Whatever, it’s a cracking track that should grace many a dancefloor, whatever tickles your pickle.
There are two tracks from Eddie Holland on this release, ‘Just a Few More Days’ on Motown and the excellent ‘Everybody’s Going’ from 1959 on UA. He was a member of the prolific Holland-Dozier-Holland song writing team, and also had a voice very similar to Jackie Wilson. Great choices for inclusion here.
Something to stir the soul in you follows, with Joe Simon’s ‘I Gotta Whole Lotta Loving’, from 1970, which to many of us of my ‘vintage’ was a few years ago(!). This you can categorise in the ‘Soul/Funk’ genre. The wonderfully named Bent Forcep and the Patients, are up next with ‘What Happened to Baby Jane’, a vocal and musical curio, beyond which, I know nothing 😊
For those who have become a bit jaded with Trini Lopez’s ‘Sinner not a Saint’, here’s an alternative, with ‘If’ (not succeeded by the words ‘I had a Hammer’ fortunately), again a track that has a hop on a variety of dancefloors. Roosevelt Grier, for American Football fans (like me), immediately puts us in mind of his stints with the New York Giants and LA Rams. Here in this 1963 tune ‘Lover Set Me Free’ he showcases a fine set of vocal chords as well, in a song that is the antithesis of the aggressive nature of his Defensive Tackle position on the gridiron.
Joe Hinton’s ‘You’re My Girl’ is a further new one on me from 1964, another soul sounding track. Many of today’s groups are now taking on ‘Secret Agent Man’. Here it is, not by Johnny Rivers, but Mel Torme, a version that also appears on a FTM 45. Another classic tune next, with Lee Dresser, and the now established dancefloor winner, ‘El Camino Real’, and here’s a live version for you.
From ‘Fun in Acapulco’, it’s the Guv’ner, with ‘I Think I’m Gonna Like it Here’, soaked in Mexican beats and trumpets, which by default, we all love! You could lose count at the number of artists that have covered ‘Hi Lili Hi Lo’. The song was originally recorded by Dinah Shore in 1952, and in the 1953 film ‘Lili’, performed by Leslie Caron (and a couple of puppets). Here we have a baritone version by James Ricks from 1961, with a big band sound backing him to really good effect.
‘Cowbell Boogie’ by Fred Jackson, is an instrumental oddity from 1961. Jackson was a jazz man originally playing with Little Richard, being a saxophonist, I’m not sure if there’s a ‘cowbellofonist’ position in a band. Catchy ditty this one. Similarly the Buena Vistas’ ‘Soul sounding ‘Boss Sauce’ instro from ‘66/’67.
A real barn burner of an instrumental track follows, ‘The Mister Custer Stomp’, from ‘62 with some seriously excellent guitar twang, based around Custer’s escapades I’d suggest. It has a Garage feel to it with a rousing beat and yells, and I note that subsequent releases have been on the ‘Bighorn’ label…..Another ballsy instrumental ‘Stomp City Beat, by the Impacts, has the potential to fill many a floor with strollers. I’ll be honest readers, I know zip about this tune and it’s origins, but I’m glad I’ve heard it.
Clarence ‘Frogman’ Henry, delighted audiences with his genial persona, and super shows in the UK for many years. Here he is, in 1962, with a dance delight ‘Come on and Dance’. To top off, ‘That’s All’ by Al Garris, again with a foot in the R&B and Soul camp.
Cripes readers, thirty-one tracks, that when you put the CD in the player, is like a shuffle of styles you know you like, with tracks you might not have heard before. There’s something for everyone on this, it’s not out and out Rockabilly, or Soul, or R&B or Country or whatever. This is a well-conceived blend of ‘grooves’ put together by Flat Top Mark
Super stuff!
CD review
As this first CD in the series, is now being repressed to the tune of one hundred copies, we thought we’d run the review we did a year ago, for those who are thinking about ordering themselves a copy
From the Flat Top Mark record label, Mark Phillips presents ‘In The Groove’ Part One, which would suggest that there’s a ‘part two’ and onward. Thirty one tracks on this one, all from vinyl, onto one mighty fine compilation.
A quick scan of the play list, and it’s varied for sure, right from the ‘Peter Gunn’ sounding ‘Snatch The Gun’, which you might want to avert your nan’s attention, during the Overdub Film Mix, cos it’s a bit x-rated. First vocal track, from Kingsize Taylor, who, with the Dominoes, were a British Rock n Roll band in the late ‘50’s, from Liverpool. Consequently, they were there at the start of the beat movement. ‘Money’ featured here, has a foot in both camps.
Raymond Leslie Howard, aka Duffy Power, from the Larry Parnes stable next, with ‘If I Get Lucky Someday’, which was a self penned track on the flip of the Parlophone 45 from 1963, which had Gerschwin’s ‘It Ain’t Necessarily So’ on the A. Decent stroll beat this one. More stroll rhythms follow, with Wanda Jackson, and ‘Whirlpool’. Don’t confuse this with the Billy Walker song of the same name, this one comes from the flip of the single ‘Funnel of Love’ in latter day releases or as the ‘A’ side on the Capitol 45 from ‘62.
Travis Wammack’s incredible guitar playing is next with ‘Firefly 2010’. Difficult to categorise this 1964 instrumental corker from a guitarist that was once touted as the fastest, other than brilliant. The Trippers, I didn’t know much about, and here they are with their version of ‘Keep a’ Knockin’ from 1966, with the Easybeats from Australia, following with ‘She’s so Fine’ from ’65.
There’s frantic vocals from Gino Parks on his Tamala cut from 1961, ‘Samething’, before we get some true class. John Lee Hooker, takes on ‘Money’. His version, has the classic Hooker guitar riff throughout, unmistakable and stylish, the Boogie Man presents a cool take on Berry Gordy Jr’s composition. From blues and boogie to Zydeco music, and Clifton Chenier’s accordion driven ‘Hotrod’. This has influences from Cajun and Creole music, from an artist, once declared as the King of Zydeco. Cool vibe this one, readers.
I tell you what readers, hearing ‘I Ain’t Never’ from Ricky Allen, immediately put me us in mind of Sam Cooke, with his vocal style. This track could have been recorded at any time between ‘50 and when it actually was, in ’66. Excellent stroll beat. It’s the Man in Black next, with a Powerhouse Mix, the basis of which is ‘Big River’, and frequent overdubbed cheers, and John introducing himself. Love it.
It’s weird and fulfilling in equal parts when a track from one of your favourite artists comes up, that you’ve not heard of before. This is the case with Fats Domino’s ‘If You Don’t Know What Love Is’. This cut is from his 1964 Paramount single, and has part in the R&B and part in the Soul camp. Whatever, it’s a cracking track that should grace many a dancefloor, whatever tickles your pickle.
There are two tracks from Eddie Holland on this release, ‘Just a Few More Days’ on Motown and the excellent ‘Everybody’s Going’ from 1959 on UA. He was a member of the prolific Holland-Dozier-Holland song writing team, and also had a voice very similar to Jackie Wilson. Great choices for inclusion here.
Something to stir the soul in you follows, with Joe Simon’s ‘I Gotta Whole Lotta Loving’, from 1970, which to many of us of my ‘vintage’ was a few years ago(!). This you can categorise in the ‘Soul/Funk’ genre. The wonderfully named Bent Forcep and the Patients, are up next with ‘What Happened to Baby Jane’, a vocal and musical curio, beyond which, I know nothing 😊
For those who have become a bit jaded with Trini Lopez’s ‘Sinner not a Saint’, here’s an alternative, with ‘If’ (not succeeded by the words ‘I had a Hammer’ fortunately), again a track that has a hop on a variety of dancefloors. Roosevelt Grier, for American Football fans (like me), immediately puts us in mind of his stints with the New York Giants and LA Rams. Here in this 1963 tune ‘Lover Set Me Free’ he showcases a fine set of vocal chords as well, in a song that is the antithesis of the aggressive nature of his Defensive Tackle position on the gridiron.
Joe Hinton’s ‘You’re My Girl’ is a further new one on me from 1964, another soul sounding track. Many of today’s groups are now taking on ‘Secret Agent Man’. Here it is, not by Johnny Rivers, but Mel Torme, a version that also appears on a FTM 45. Another classic tune next, with Lee Dresser, and the now established dancefloor winner, ‘El Camino Real’, and here’s a live version for you.
From ‘Fun in Acapulco’, it’s the Guv’ner, with ‘I Think I’m Gonna Like it Here’, soaked in Mexican beats and trumpets, which by default, we all love! You could lose count at the number of artists that have covered ‘Hi Lili Hi Lo’. The song was originally recorded by Dinah Shore in 1952, and in the 1953 film ‘Lili’, performed by Leslie Caron (and a couple of puppets). Here we have a baritone version by James Ricks from 1961, with a big band sound backing him to really good effect.
‘Cowbell Boogie’ by Fred Jackson, is an instrumental oddity from 1961. Jackson was a jazz man originally playing with Little Richard, being a saxophonist, I’m not sure if there’s a ‘cowbellofonist’ position in a band. Catchy ditty this one. Similarly the Buena Vistas’ ‘Soul sounding ‘Boss Sauce’ instro from ‘66/’67.
A real barn burner of an instrumental track follows, ‘The Mister Custer Stomp’, from ‘62 with some seriously excellent guitar twang, based around Custer’s escapades I’d suggest. It has a Garage feel to it with a rousing beat and yells, and I note that subsequent releases have been on the ‘Bighorn’ label…..Another ballsy instrumental ‘Stomp City Beat, by the Impacts, has the potential to fill many a floor with strollers. I’ll be honest readers, I know zip about this tune and it’s origins, but I’m glad I’ve heard it.
Clarence ‘Frogman’ Henry, delighted audiences with his genial persona, and super shows in the UK for many years. Here he is, in 1962, with a dance delight ‘Come on and Dance’. To top off, ‘That’s All’ by Al Garris, again with a foot in the R&B and Soul camp.
Cripes readers, thirty-one tracks, that when you put the CD in the player, is like a shuffle of styles you know you like, with tracks you might not have heard before. There’s something for everyone on this, it’s not out and out Rockabilly, or Soul, or R&B or Country or whatever. This is a well-conceived blend of ‘grooves’ put together by Flat Top Mark
Super stuff!
Release the Hounds - Harry and the Hounds
CD review
Another new band to us, Brighton based Harry and the Hounds, sent us their debut CD on Foot Tapping Records recently, and we surely are glad they did. The trio are Harry Caiger on vocals, guitar and harmonica, Pete Neal, bass and vocals and drummer Freddie Lovett. Together they produce a beefy and full sound, with six of the ten tracks on this release, original compositions.
We start however, with a classic slice of Rockabilly in the shape of a powerful version of Johnny Burnette’s ‘Sweet Love On My Mind’ followed by a stick-on dancefloor strolling winner, ‘Dreamer’. Smashing beat to this and a pretty cool guitar break. There’s a love’s-lost feel to the lyrics of the catchy rhythm of ‘Telephone’, that puts me in mind of the Bellfuries ‘All That I’m Missing’ in places, which of course is by no means, a bad thing.
‘Burning Bridges’ has a blues stroll sound to it, while relating the story of a fellow leaving forever. The lead guitar break in this is a delight readers. Next up, the familiar strains of Eddie Cochran’s ‘Jeanie Jeanie Jeanie’, with an embellished lead break to add the band’s own stamp to it. ‘Forever’ cites a tale of being seventeen in the fifties style, with ‘sock hops’ and ‘juke-box jiving’ recalled. Interesting that a lot of people of our vintage, were asked the very question the lads touch on in the song, ‘Whatcha gonna do when you get old, are you still gonna want to Rock n Roll’. Well with music like this, it’s a resounding yes!
‘Gone’ is a real rocker from start to finish, another teenage angsty themed song set to a frantic pace. Offsetting that is the band’s version of Johnny Kidd and the Pirates seminal 1960 classic No1 hit ‘Shakin’ All Over’. Really good version this one, folks. They’ve also cleverly taken Merle Haggard’s ‘Working Man’s Blues’ from the country sound, making it a blues bopper, also with a ‘Stutterin’ Cindy’ sounding riff throughout. This is a real beauty folks, complemented by a smashing harmonica solo to boot.
Finally, we have ‘Howlin’, a barking and sinister sounding stroll beat tune, which for me is the pick of the tunes with that tempo on the CD. These lads have produced a truly accomplished debut record, at times you wonder that there’s only three of them, so boss and ballsy the is the sound.
Killer Diller folks!
CD review
Another new band to us, Brighton based Harry and the Hounds, sent us their debut CD on Foot Tapping Records recently, and we surely are glad they did. The trio are Harry Caiger on vocals, guitar and harmonica, Pete Neal, bass and vocals and drummer Freddie Lovett. Together they produce a beefy and full sound, with six of the ten tracks on this release, original compositions.
We start however, with a classic slice of Rockabilly in the shape of a powerful version of Johnny Burnette’s ‘Sweet Love On My Mind’ followed by a stick-on dancefloor strolling winner, ‘Dreamer’. Smashing beat to this and a pretty cool guitar break. There’s a love’s-lost feel to the lyrics of the catchy rhythm of ‘Telephone’, that puts me in mind of the Bellfuries ‘All That I’m Missing’ in places, which of course is by no means, a bad thing.
‘Burning Bridges’ has a blues stroll sound to it, while relating the story of a fellow leaving forever. The lead guitar break in this is a delight readers. Next up, the familiar strains of Eddie Cochran’s ‘Jeanie Jeanie Jeanie’, with an embellished lead break to add the band’s own stamp to it. ‘Forever’ cites a tale of being seventeen in the fifties style, with ‘sock hops’ and ‘juke-box jiving’ recalled. Interesting that a lot of people of our vintage, were asked the very question the lads touch on in the song, ‘Whatcha gonna do when you get old, are you still gonna want to Rock n Roll’. Well with music like this, it’s a resounding yes!
‘Gone’ is a real rocker from start to finish, another teenage angsty themed song set to a frantic pace. Offsetting that is the band’s version of Johnny Kidd and the Pirates seminal 1960 classic No1 hit ‘Shakin’ All Over’. Really good version this one, folks. They’ve also cleverly taken Merle Haggard’s ‘Working Man’s Blues’ from the country sound, making it a blues bopper, also with a ‘Stutterin’ Cindy’ sounding riff throughout. This is a real beauty folks, complemented by a smashing harmonica solo to boot.
Finally, we have ‘Howlin’, a barking and sinister sounding stroll beat tune, which for me is the pick of the tunes with that tempo on the CD. These lads have produced a truly accomplished debut record, at times you wonder that there’s only three of them, so boss and ballsy the is the sound.
Killer Diller folks!
interview with the summertime kings
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Interview with the Summertime Kings
Just before the time ‘it all kicked off’ referring to the Covid-19 situation, we encountered a band for the first time in Old Leake, Lincs. They were supporting Ray Collins’ Hot Club that evening, and it was one song early in the set that really caught the attention. Their cover of the Capris ‘Morse Code of Love’, was en pointe. We hoped we’d see more of them soon.
Soon however, became six months due to that damn virus, and it wasn’t until Boston Jive’s Jivin’ Drive In event that we encountered the four lads again. So we grabbed spokesperson Stephen for an interview.
BJR. Let’s start at the beginning, who are The Summertime Kings?
SK - Hello and thanks for the kind words! The Summertime Kings are a four piece band from the King’s Lynn area. We have Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar.
We all have other responsibilities within the band as well. Craig is our driver and ‘can do man’. Pete records, mixes and masters our studio work. Stephen does our live sound and Adam is in charge of vocal arrangements, social media and merchandise.
BJR. How long have you been together?
SK - We’ve been together for about a year and a half and have been out gigging for about a year.
BJR. We recall a couple of you from the B-Sides, so how did the formation of the Summertime Kings come about? Who was the driving force behind getting the band together or did it just ‘happen’? 😊
SK - Before The B-Sides was coming to an end, myself (Stephen) and Pete had been working together on lots of different small scale musical projects. We were writing some music together and learning some of our favourite rockabilly stuff at a studio that belonged to Adam. Pete introduced me to Adam as they had previously played together and he showed us some country inspired music that he had been writing. We knew instantly that we wanted to work with him on this project. That’s when The Summertime Kings began. We decided to begin this new project with a focus on vocal work. We then needed a drummer and I suggested contacting Craig. He had worked with me in The B-Sides and could do backing vocals. Suddenly we had a four piece band where every member had vocal experience. We knew that with Adam’s previous experience of vocal arranging that we wanted to steer towards the Doo Wop sound.
BJR. You cover a variety of styles and genres. Are there particular members that have a greater love for Doo Wop, and others Rockabilly or Rock ‘n’ Roll, or do you all pull in the same direction?
Just before the time ‘it all kicked off’ referring to the Covid-19 situation, we encountered a band for the first time in Old Leake, Lincs. They were supporting Ray Collins’ Hot Club that evening, and it was one song early in the set that really caught the attention. Their cover of the Capris ‘Morse Code of Love’, was en pointe. We hoped we’d see more of them soon.
Soon however, became six months due to that damn virus, and it wasn’t until Boston Jive’s Jivin’ Drive In event that we encountered the four lads again. So we grabbed spokesperson Stephen for an interview.
BJR. Let’s start at the beginning, who are The Summertime Kings?
SK - Hello and thanks for the kind words! The Summertime Kings are a four piece band from the King’s Lynn area. We have Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar.
We all have other responsibilities within the band as well. Craig is our driver and ‘can do man’. Pete records, mixes and masters our studio work. Stephen does our live sound and Adam is in charge of vocal arrangements, social media and merchandise.
BJR. How long have you been together?
SK - We’ve been together for about a year and a half and have been out gigging for about a year.
BJR. We recall a couple of you from the B-Sides, so how did the formation of the Summertime Kings come about? Who was the driving force behind getting the band together or did it just ‘happen’? 😊
SK - Before The B-Sides was coming to an end, myself (Stephen) and Pete had been working together on lots of different small scale musical projects. We were writing some music together and learning some of our favourite rockabilly stuff at a studio that belonged to Adam. Pete introduced me to Adam as they had previously played together and he showed us some country inspired music that he had been writing. We knew instantly that we wanted to work with him on this project. That’s when The Summertime Kings began. We decided to begin this new project with a focus on vocal work. We then needed a drummer and I suggested contacting Craig. He had worked with me in The B-Sides and could do backing vocals. Suddenly we had a four piece band where every member had vocal experience. We knew that with Adam’s previous experience of vocal arranging that we wanted to steer towards the Doo Wop sound.
BJR. You cover a variety of styles and genres. Are there particular members that have a greater love for Doo Wop, and others Rockabilly or Rock ‘n’ Roll, or do you all pull in the same direction?
SK - So Adam loves the sound of Doo Wop, I (Stephen) love the bouncy sound of Rhythm and Blues whereas Pete and Craig listen to Country and Rockabilly. We then try to blend these different styles together.
BJR. Do you know everyone’s influences or would you say there’s bands or artists that you all regard as a collective influence?
SK - As a band we’re really inspired by the Doo Wop sounds of Dion and the Belmonts, The Chords and The Capris. We also love the jump blues sounds of Fats Domino, Big Joe Turner and Wynonie Harris. Finally we really like the western swing sounds of The Country Side of Harmonica Sam and the western ballads of Ernest Tubb.
BJR. What was your first gig?
SK - Our very first gig was Retro Revival at the Gressenhall farm and workhouse. We got a fantastic response from this show and began receiving some great bookings ever since such as the “Don’t Knock the Rock” weekender at Hemsby, RetroFest in Newark, Fifties Fest with Darrel Higham in Norwich and Rocking at the Richmond. It’s devastating that these have all been postponed but next year is going to be a lot of fun!
BJR. Do you write any of your own material?
SK - Yes there’s lots of original work going on behind the scenes. We haven’t released any yet as we’re all perfectionists and want it to be right. But yes once we’re happy we will be releasing lots of our own work. Keep your eyes on our social media streams to keep up to date with upcoming releases.
BJR. You have one downloadable recording already out there, have you got any plans for more records in the future?
SK - We most certainly do! Pete has almost completed building his own recording studio. As soon as this is done we will essentially be moving in and working hard to release a mixture of our own arrangements of songs and our own material.
BJR. As with most of us, the calendar turned red on March 23rd, cancellations and restrictions everywhere. You had an ever-increasing diary of dates at the beginning of the year, have you been able to practise or rehearse recently in anticipation of the return of live events?
SK - Yes our diary was looking amazing and then all of a sudden lock down happened. Just before lockdown happened we did our live streamed gig on Facebook and used the audio from this to release our ‘Live from Lockdown’ album. The gig and album combined raised almost £400 which we donated to the NHS to show our appreciation. Once the government began easing the lockdown restrictions we were able to get together outside and perform for Boston Jive’s second “Rockin’ Lock In”. Now that the restrictions have eased even more we regularly meet together and continue making arrangements, writing more material and preparing for the day that the entertainment industry gets back into full swing.
BJR. How can people get in touch with the band for merchandise or future bookings?
SK - There are a number of ways to get in touch and support us.
We can be contacted directly via our Facebook page where we release regular updates/ pictures and videos of what we are up to - www.facebook.com/thesummertimekings
Our ‘Live from Lockdown’ album is available for free download from our bandcamp page - thesummertimekings.bandcamp.com
Our merchandise is available from our big cartel shop - www.thesummertimekings.bigcartel.com
You can also contact us by emailing us at [email protected]
Our Instagram is: the_summertime_kings
BJR. Thank you for doing this interview for us
SK - You’re welcome! Thank you for your support.
BJR. Do you know everyone’s influences or would you say there’s bands or artists that you all regard as a collective influence?
SK - As a band we’re really inspired by the Doo Wop sounds of Dion and the Belmonts, The Chords and The Capris. We also love the jump blues sounds of Fats Domino, Big Joe Turner and Wynonie Harris. Finally we really like the western swing sounds of The Country Side of Harmonica Sam and the western ballads of Ernest Tubb.
BJR. What was your first gig?
SK - Our very first gig was Retro Revival at the Gressenhall farm and workhouse. We got a fantastic response from this show and began receiving some great bookings ever since such as the “Don’t Knock the Rock” weekender at Hemsby, RetroFest in Newark, Fifties Fest with Darrel Higham in Norwich and Rocking at the Richmond. It’s devastating that these have all been postponed but next year is going to be a lot of fun!
BJR. Do you write any of your own material?
SK - Yes there’s lots of original work going on behind the scenes. We haven’t released any yet as we’re all perfectionists and want it to be right. But yes once we’re happy we will be releasing lots of our own work. Keep your eyes on our social media streams to keep up to date with upcoming releases.
BJR. You have one downloadable recording already out there, have you got any plans for more records in the future?
SK - We most certainly do! Pete has almost completed building his own recording studio. As soon as this is done we will essentially be moving in and working hard to release a mixture of our own arrangements of songs and our own material.
BJR. As with most of us, the calendar turned red on March 23rd, cancellations and restrictions everywhere. You had an ever-increasing diary of dates at the beginning of the year, have you been able to practise or rehearse recently in anticipation of the return of live events?
SK - Yes our diary was looking amazing and then all of a sudden lock down happened. Just before lockdown happened we did our live streamed gig on Facebook and used the audio from this to release our ‘Live from Lockdown’ album. The gig and album combined raised almost £400 which we donated to the NHS to show our appreciation. Once the government began easing the lockdown restrictions we were able to get together outside and perform for Boston Jive’s second “Rockin’ Lock In”. Now that the restrictions have eased even more we regularly meet together and continue making arrangements, writing more material and preparing for the day that the entertainment industry gets back into full swing.
BJR. How can people get in touch with the band for merchandise or future bookings?
SK - There are a number of ways to get in touch and support us.
We can be contacted directly via our Facebook page where we release regular updates/ pictures and videos of what we are up to - www.facebook.com/thesummertimekings
Our ‘Live from Lockdown’ album is available for free download from our bandcamp page - thesummertimekings.bandcamp.com
Our merchandise is available from our big cartel shop - www.thesummertimekings.bigcartel.com
You can also contact us by emailing us at [email protected]
Our Instagram is: the_summertime_kings
BJR. Thank you for doing this interview for us
SK - You’re welcome! Thank you for your support.
Cov-interview with Boston Jive
In February, we were all pretty much on a high, life was normal and Rock n Roll gigs were aplenty. Then Covid-19 hit, and boy did it hit the music and entertainment industries, and at the time of writing, there is little prospect of events restarting anytime soon. As you have read, Boston Jive recently put their first socially distanced event on at Hubberts Bridge Community Centre, so we asked organisers, Claire and Neil Seabrook about the effect Covid-19 has had on them, and Boston Jive.
BJR. From Ray Collins Hot Club at Old Leake, playing to a sell out crowd at the end of February, to Boston Jive’s complete shut down a month later. It might sound like a daft question, but what was that like?
C&N – Bloody awful! It felt like we were living half a life. We had been on such a high after our Ray Collins gig, were fully booked for shedloads of events, dances and all sorted right through to the end of October and then the tumble weed struck! We were both very low at first and missed everyone incredibly. The good thing was though, it gave us time to sit back and realise how much we truly love and appreciate what we do.
BJR. Readers will know that you run the event Hot Rock and Boogie, which was scheduled to be in May, but you also have jive and stroll tuition classes during the week. Did you take the decision to close them down, or was it the Government announcement on the 23rd of March?
C&N – We took the decision before shutdown was announced, our last class was Monday 16th March. We’ll never forget that Monday night. It was the first press conference and we caught it just before leaving for our class in Boston. We teach so many people of all ages, many over the age that needed to be careful and some with pre-existing medical conditions. We decided on the way to class that we needed to shut down then. We announced it at the beginning and, as one lady put it after we went back to classes, it was more like a funeral than our usual happy class. We did what we felt was right to look after those we teach.
BJR. Now we know you are not the types to sit around twiddling your thumbs, and you soon started some Zoom classes, and instruction videos. Was that something you’d planned to do anyway, or was necessity the mother of that particular invention?
C&N – As soon as we heard about lockdown happening, we rushed out to buy a camcorder. We initially did the instructional videos through our website that people could buy. That was out of necessity to keep us going but to be honest, we didn’t enjoy doing those, as we couldn’t interact and help, which is a big part of what we love to do as teachers. We then heard about Zoom, at first we had no clue about it, we thought it was an ice lolly! We started working out what to do with that and it was great. It helped us both financially and very much so emotionally, as we were back seeing the people we loved and cared about so much. We all helped get each other through a pretty rough time. There was the odd fall on to the sofa, a dog deciding to join in, or a cat chasing a bee, but it added to the fun and everyone really enjoyed it.
BJR. People were looking for some kind of positives, and a few event planners around the country started to organise socially distanced styled events outdoors. When and how did you get the green light for yours?
C&N – I had been thinking about it for some time, after a conversation with Pete from the Summertime Kings actually, but at that point it wasn’t the right time and could not have been carried out safely. Everything we have planned and started post lockdown being relaxed, has been entirely lead by safety – if we can’t make sure we are able to do everything we need to protect people, then we don’t it! We spoke with the relevant powers that be and were very lucky to get the use of the car park and grassed area at Hubberts Bridge. After that it was all systems go and we had it organised and sold out within a couple of weeks.
BJR. To the indoor classes and Hubbert’s Bridge is the initial starting place for those to recommence. We noticed you’ve ‘panic bought’ all the yellow and black stripy adhesive tape there is available, and become dab hands at marking out dance areas. Has it been a sense of relief, excitement, or nervousness that takes over as you get back to teaching?
C&N – All of the above!! As soon as the government announced we could re-start classes, we cried. It was a huge wave of relief and utter excitement about actually being back in the same room with people. However, as I’ve said before, if it couldn’t be done safely, then we wouldn’t have opened at all. We were very lucky to get the sole use of Hubberts Bridge and they fully supported our rick assessment plans…. We’ve got through a lot of tape lately! We marked out 3mtr square boxes for people to dance in with walkways and hand sanitising stations, etc, etc. The best thing was getting people along who were nervous to be ‘back out’ in the world and to be told how safe we had made them feel. That first night back – wow – it felt like our first ever class all over again, we were both really nervous. I (Claire) kept getting the giggles and couldn’t stop talking… nothing unusual there, I know!
BJR. The outdoor gig in late August, with the Summertime Kings and Mr Big Feet on sounds (see review elsewhere on this page), tell us how that felt to see familiar faces again and be at the sharp end of organising
C&N – Incredible. Absolutely overwhelming to be honest and we were as nervous as heck to be doing it again. It was a gig but so different, we had never had to direct traffic before! It took a great deal of planning to make sure we could safely accommodate everyone and make sure people had room to dance and catch up whilst still observing social distancing but boy, it was so worth it! We didn’t stop smiling all afternoon, our faces hurt from it. I had a little cry when I saw some of our dancers we hadn’t physically seen since March and it was just the best atmosphere. I had missed that rush of organising and running round like a headless chicken (I don’t like to be idle) and Neil had missed my mad ideas, I’m sure! By the end of the day I had almost reached 20,000 steps. It was good to be back!
BJR And of course you have a second event planned for 19th September to celebrate your (Boston Jive) 5th birthday, which we believe has sold out already?
C&N – We certainly do! We were amazed, it sold out within 3 days. Some people were booking their tickets via Paypal before they had even left the first event. Everyone is so excited for it and we are very pleased that we can mark our 5th anniversary. We have The Tailfins, a local band who were the very first band we hired when we started putting on the events side of the business, so that makes it extra special for us. It has been a very hard year. What should have been our biggest and best year of Boston Jive, like so many others affected, we had our worst. So to be back with everyone and dancing together again to celebrate our anniversary really is a wonderful thing.
BJR. Back in class again, do you have any plans to reopen your classes elsewhere?
C&N – Yes we do. We would have been back at all of them within that first week but unfortunately the halls have been reluctant to re-open straight away. It’s been difficult, as we feel like we have alienated some of our dancers who can’t get to Hubberts Bridge, as it would be too far away for them but we have had no choice in the matter and actually it has been good to start slowly while we get used to the new way of things. We totally appreciate where the committees who run the halls are coming from. It’s unusual times for everyone right now and there is no right or wrong in how you deal with it. We would rather they were more cautious and took time to put measures in place than too hasty and cut corners. Saying that… just between us of course… we are VERY excited for September and October!!
BJR. Of course none of us has a crystal ball that can tell us when we can have a ‘normal’ gig in a hall, but what do you as promoters want to see happen regarding the reopening of indoor events?
C&N – As desperate as we are to start hosting ‘normal’ events again, I do feel that it can’t be rushed. It’s a very personal thing and everyone has their own opinion about it but it has to be safety first and if we can’t get back to gigs as they were until next year, then sadly, so be it. We are very protective of the people who come to our classes and events and want to shield them from any possible issues as much as we can. As soon as indoor gigs are allowed, we will look into opening them up, as long as we can ensure we are adhering to the regulations and to be honest, that’s the tricky part, it’s very hard to socially distance in a hall full of dancers! I have my thinking cap on, as usual, though.
BJR. How can people best keep up with Boston Jive and their schedule of events?
C&N – Our facebook page is the best way to keep up to date with everything we are doing. From our classes re-opening, any events we are safely able to put on, to free facebook stroll classes we like to do occasionally. It’s all there. We know how uncertain everything is at the moment and how nervous people may still feel, so they are always welcome to call us for a chat about starting classes or returning to us.
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
In February, we were all pretty much on a high, life was normal and Rock n Roll gigs were aplenty. Then Covid-19 hit, and boy did it hit the music and entertainment industries, and at the time of writing, there is little prospect of events restarting anytime soon. As you have read, Boston Jive recently put their first socially distanced event on at Hubberts Bridge Community Centre, so we asked organisers, Claire and Neil Seabrook about the effect Covid-19 has had on them, and Boston Jive.
BJR. From Ray Collins Hot Club at Old Leake, playing to a sell out crowd at the end of February, to Boston Jive’s complete shut down a month later. It might sound like a daft question, but what was that like?
C&N – Bloody awful! It felt like we were living half a life. We had been on such a high after our Ray Collins gig, were fully booked for shedloads of events, dances and all sorted right through to the end of October and then the tumble weed struck! We were both very low at first and missed everyone incredibly. The good thing was though, it gave us time to sit back and realise how much we truly love and appreciate what we do.
BJR. Readers will know that you run the event Hot Rock and Boogie, which was scheduled to be in May, but you also have jive and stroll tuition classes during the week. Did you take the decision to close them down, or was it the Government announcement on the 23rd of March?
C&N – We took the decision before shutdown was announced, our last class was Monday 16th March. We’ll never forget that Monday night. It was the first press conference and we caught it just before leaving for our class in Boston. We teach so many people of all ages, many over the age that needed to be careful and some with pre-existing medical conditions. We decided on the way to class that we needed to shut down then. We announced it at the beginning and, as one lady put it after we went back to classes, it was more like a funeral than our usual happy class. We did what we felt was right to look after those we teach.
BJR. Now we know you are not the types to sit around twiddling your thumbs, and you soon started some Zoom classes, and instruction videos. Was that something you’d planned to do anyway, or was necessity the mother of that particular invention?
C&N – As soon as we heard about lockdown happening, we rushed out to buy a camcorder. We initially did the instructional videos through our website that people could buy. That was out of necessity to keep us going but to be honest, we didn’t enjoy doing those, as we couldn’t interact and help, which is a big part of what we love to do as teachers. We then heard about Zoom, at first we had no clue about it, we thought it was an ice lolly! We started working out what to do with that and it was great. It helped us both financially and very much so emotionally, as we were back seeing the people we loved and cared about so much. We all helped get each other through a pretty rough time. There was the odd fall on to the sofa, a dog deciding to join in, or a cat chasing a bee, but it added to the fun and everyone really enjoyed it.
BJR. People were looking for some kind of positives, and a few event planners around the country started to organise socially distanced styled events outdoors. When and how did you get the green light for yours?
C&N – I had been thinking about it for some time, after a conversation with Pete from the Summertime Kings actually, but at that point it wasn’t the right time and could not have been carried out safely. Everything we have planned and started post lockdown being relaxed, has been entirely lead by safety – if we can’t make sure we are able to do everything we need to protect people, then we don’t it! We spoke with the relevant powers that be and were very lucky to get the use of the car park and grassed area at Hubberts Bridge. After that it was all systems go and we had it organised and sold out within a couple of weeks.
BJR. To the indoor classes and Hubbert’s Bridge is the initial starting place for those to recommence. We noticed you’ve ‘panic bought’ all the yellow and black stripy adhesive tape there is available, and become dab hands at marking out dance areas. Has it been a sense of relief, excitement, or nervousness that takes over as you get back to teaching?
C&N – All of the above!! As soon as the government announced we could re-start classes, we cried. It was a huge wave of relief and utter excitement about actually being back in the same room with people. However, as I’ve said before, if it couldn’t be done safely, then we wouldn’t have opened at all. We were very lucky to get the sole use of Hubberts Bridge and they fully supported our rick assessment plans…. We’ve got through a lot of tape lately! We marked out 3mtr square boxes for people to dance in with walkways and hand sanitising stations, etc, etc. The best thing was getting people along who were nervous to be ‘back out’ in the world and to be told how safe we had made them feel. That first night back – wow – it felt like our first ever class all over again, we were both really nervous. I (Claire) kept getting the giggles and couldn’t stop talking… nothing unusual there, I know!
BJR. The outdoor gig in late August, with the Summertime Kings and Mr Big Feet on sounds (see review elsewhere on this page), tell us how that felt to see familiar faces again and be at the sharp end of organising
C&N – Incredible. Absolutely overwhelming to be honest and we were as nervous as heck to be doing it again. It was a gig but so different, we had never had to direct traffic before! It took a great deal of planning to make sure we could safely accommodate everyone and make sure people had room to dance and catch up whilst still observing social distancing but boy, it was so worth it! We didn’t stop smiling all afternoon, our faces hurt from it. I had a little cry when I saw some of our dancers we hadn’t physically seen since March and it was just the best atmosphere. I had missed that rush of organising and running round like a headless chicken (I don’t like to be idle) and Neil had missed my mad ideas, I’m sure! By the end of the day I had almost reached 20,000 steps. It was good to be back!
BJR And of course you have a second event planned for 19th September to celebrate your (Boston Jive) 5th birthday, which we believe has sold out already?
C&N – We certainly do! We were amazed, it sold out within 3 days. Some people were booking their tickets via Paypal before they had even left the first event. Everyone is so excited for it and we are very pleased that we can mark our 5th anniversary. We have The Tailfins, a local band who were the very first band we hired when we started putting on the events side of the business, so that makes it extra special for us. It has been a very hard year. What should have been our biggest and best year of Boston Jive, like so many others affected, we had our worst. So to be back with everyone and dancing together again to celebrate our anniversary really is a wonderful thing.
BJR. Back in class again, do you have any plans to reopen your classes elsewhere?
C&N – Yes we do. We would have been back at all of them within that first week but unfortunately the halls have been reluctant to re-open straight away. It’s been difficult, as we feel like we have alienated some of our dancers who can’t get to Hubberts Bridge, as it would be too far away for them but we have had no choice in the matter and actually it has been good to start slowly while we get used to the new way of things. We totally appreciate where the committees who run the halls are coming from. It’s unusual times for everyone right now and there is no right or wrong in how you deal with it. We would rather they were more cautious and took time to put measures in place than too hasty and cut corners. Saying that… just between us of course… we are VERY excited for September and October!!
BJR. Of course none of us has a crystal ball that can tell us when we can have a ‘normal’ gig in a hall, but what do you as promoters want to see happen regarding the reopening of indoor events?
C&N – As desperate as we are to start hosting ‘normal’ events again, I do feel that it can’t be rushed. It’s a very personal thing and everyone has their own opinion about it but it has to be safety first and if we can’t get back to gigs as they were until next year, then sadly, so be it. We are very protective of the people who come to our classes and events and want to shield them from any possible issues as much as we can. As soon as indoor gigs are allowed, we will look into opening them up, as long as we can ensure we are adhering to the regulations and to be honest, that’s the tricky part, it’s very hard to socially distance in a hall full of dancers! I have my thinking cap on, as usual, though.
BJR. How can people best keep up with Boston Jive and their schedule of events?
C&N – Our facebook page is the best way to keep up to date with everything we are doing. From our classes re-opening, any events we are safely able to put on, to free facebook stroll classes we like to do occasionally. It’s all there. We know how uncertain everything is at the moment and how nervous people may still feel, so they are always welcome to call us for a chat about starting classes or returning to us.
Tips, donations however large or small, gratefully received. It helps keep this magazine free. Many thanks
vinyl reviews
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Here is a selection of 45rpm, both new and repro, that are available at the above dealers. Click on their image to take them to their selling sites
LP and his Dirty White Bucks – 45rpm review
Sleazy Records have released a cracking seven incher, by one of Rockabilly music’s most dependably consummate bands, LP and his Dirty White Bucks. Charismatic front man Les Prendergast, is both vocalist and rhythm guitarist, and he’s backed by Dave Flynn on lead guitar, Jim O’Neil on bass with drummer Trev Collins. Some may recall the band being just a three piece incidentally, without drums.
The ‘A’ side, ‘Man From Laramie’, isn’t a cover of the Jimmy Young song , and the similarity between the plot of the 1955 film, ends with the title. This song, features a western sounding guitar throughout, with that saloon in a dusty town feeling. The lyrics detail a tale of lost love to a guy who portrays himself as a movie star, that LP refers to as the ‘Man from Laramie’. You can see how it all ties together, and the guitar riffs accompanying Les’ vocals, to this lively beat, are perfect.
The ‘B’ side, ‘Up and Go’, is a thumping slab of classically formed Rockabilly, great tick on the bass, and searing guitar riffs. This is your characteristic dancehall scene, couple digging the music in a dancehall, only for ‘Big Joe’ to come in spoil it all, causing our couple to need to leave.
Great stuff, well packaged, with sleeve designs by Andy Brittan of AB Creative.
Sleazy Records have released a cracking seven incher, by one of Rockabilly music’s most dependably consummate bands, LP and his Dirty White Bucks. Charismatic front man Les Prendergast, is both vocalist and rhythm guitarist, and he’s backed by Dave Flynn on lead guitar, Jim O’Neil on bass with drummer Trev Collins. Some may recall the band being just a three piece incidentally, without drums.
The ‘A’ side, ‘Man From Laramie’, isn’t a cover of the Jimmy Young song , and the similarity between the plot of the 1955 film, ends with the title. This song, features a western sounding guitar throughout, with that saloon in a dusty town feeling. The lyrics detail a tale of lost love to a guy who portrays himself as a movie star, that LP refers to as the ‘Man from Laramie’. You can see how it all ties together, and the guitar riffs accompanying Les’ vocals, to this lively beat, are perfect.
The ‘B’ side, ‘Up and Go’, is a thumping slab of classically formed Rockabilly, great tick on the bass, and searing guitar riffs. This is your characteristic dancehall scene, couple digging the music in a dancehall, only for ‘Big Joe’ to come in spoil it all, causing our couple to need to leave.
Great stuff, well packaged, with sleeve designs by Andy Brittan of AB Creative.
Mary Ann the Ramblin Gal – 45rpm review
There are artists that immediately grab your attention, on first listen or first, and Estonia’s Mary Ann was one such performer when we saw her some years ago at the Rockabilly Rave. At a subsequent Rave in 2018, she performed with the lads from Cherry Casino and the Gamblers (et al), a different style, but retaining the jubilant lilt in her voice.
Now resident in Sweden, Mary Ann (real name Mariann Lants) has recorded this vinyl beauty, on the Fink Record label. Accompanying her are, Axel Praefcke on lead guitar, Michael (Humpty) Kirscht on upright bass and drummer Andree Danielsson.
Side A is an original song written by Mary Ann, ‘Let’s Ride’. This is a joyous Rockabilly rocker, portraying the classic scene of Saturday nights on motorbikes. The lads are with her all the way with complementary ‘shout-back’ vocals. This could have some straight out of 1956 readers.
On the flip, a cover of ‘You Call Everybody Darling’. This song dates back to 1946, and had huge exposure and chart success in ’48 with one of the co-writers, Al Trace, as well as the Andrews Sisters and Jack Lathrop. Here, Mary Ann performs a country & jazzy version, with her characteristic vocal delivery that’s a real delight. The musical accompaniment is spot on too.
A really well presented and conceived 45, that’s a must for music lovers!
There are artists that immediately grab your attention, on first listen or first, and Estonia’s Mary Ann was one such performer when we saw her some years ago at the Rockabilly Rave. At a subsequent Rave in 2018, she performed with the lads from Cherry Casino and the Gamblers (et al), a different style, but retaining the jubilant lilt in her voice.
Now resident in Sweden, Mary Ann (real name Mariann Lants) has recorded this vinyl beauty, on the Fink Record label. Accompanying her are, Axel Praefcke on lead guitar, Michael (Humpty) Kirscht on upright bass and drummer Andree Danielsson.
Side A is an original song written by Mary Ann, ‘Let’s Ride’. This is a joyous Rockabilly rocker, portraying the classic scene of Saturday nights on motorbikes. The lads are with her all the way with complementary ‘shout-back’ vocals. This could have some straight out of 1956 readers.
On the flip, a cover of ‘You Call Everybody Darling’. This song dates back to 1946, and had huge exposure and chart success in ’48 with one of the co-writers, Al Trace, as well as the Andrews Sisters and Jack Lathrop. Here, Mary Ann performs a country & jazzy version, with her characteristic vocal delivery that’s a real delight. The musical accompaniment is spot on too.
A really well presented and conceived 45, that’s a must for music lovers!
Two hot dance floor stroll tunes are due for release on a repro 45rpm in early October. Robert Wallend, here as Bobby Wall, also known as Bracey Everett recorded a few sides for Aladdin Records in the late fifties. One being ‘Lover’s Curse’, keep that tune in mind
The ‘A’ side is ‘Baby it’s Too Much’, which to all intents and purposes is ‘Lover’s Curse’ with different lyrics, with the same rhythm and beat. On the flip side, ‘Tennessee Tomcat’, slightly more up tempo, and a light hearted lyrically, and a tune that you won’t get out of your head for days! In demand tunes on what is bound to be an in-demand record
The ‘A’ side is ‘Baby it’s Too Much’, which to all intents and purposes is ‘Lover’s Curse’ with different lyrics, with the same rhythm and beat. On the flip side, ‘Tennessee Tomcat’, slightly more up tempo, and a light hearted lyrically, and a tune that you won’t get out of your head for days! In demand tunes on what is bound to be an in-demand record
Dale Hawkins – Repro 45 review
Pioneering Rock n Roll singer and performer Delmar Allen ‘Dale’ Hawkins (1936-2010), has an exceptional catalogue if recordings that have delighted the Rock n Roll scene for many years. Here is a repro 45 of two of the best from 1958 on Checker Records of Chicago
‘Tornado’ is a classic dance floor bopper track, with a stinging guitar solo, catchy rhythm and striding bass-line, whilst the ‘B’ side ‘Little Pig’ nods to the fable of the Three Little Pigs, from the Wolf’s view, set to a thumping beat
Two corkers that you really need people
Pioneering Rock n Roll singer and performer Delmar Allen ‘Dale’ Hawkins (1936-2010), has an exceptional catalogue if recordings that have delighted the Rock n Roll scene for many years. Here is a repro 45 of two of the best from 1958 on Checker Records of Chicago
‘Tornado’ is a classic dance floor bopper track, with a stinging guitar solo, catchy rhythm and striding bass-line, whilst the ‘B’ side ‘Little Pig’ nods to the fable of the Three Little Pigs, from the Wolf’s view, set to a thumping beat
Two corkers that you really need people
Dolly Cooper – Repro 45rpm
Dolly Cooper also went under the name Linda Peters, depending which label she was recording for. Here are two examples of her finest work on Modern Records from 1955, both of which are dancefloor standards on the Rock n Roll dance circuit.
‘Ay La Bah’ appears to be the ‘A’ side, although latter day thinking would have this as a double ‘A’ such is the quality. ‘Ay La Bah’ seems to be part of an expression of joy, and set against the musical backdrop of the Maxwell Davis Orchestra, it’s an instant feel good stroller.
On the flip, a real R&B beauty in the shape of ‘My Man’. Dolly’s higher pitch to her voice is perfect as she regales the listener of the mischief of being the third point in a love triangle. A top jive track on a top drawer 45
Dolly Cooper also went under the name Linda Peters, depending which label she was recording for. Here are two examples of her finest work on Modern Records from 1955, both of which are dancefloor standards on the Rock n Roll dance circuit.
‘Ay La Bah’ appears to be the ‘A’ side, although latter day thinking would have this as a double ‘A’ such is the quality. ‘Ay La Bah’ seems to be part of an expression of joy, and set against the musical backdrop of the Maxwell Davis Orchestra, it’s an instant feel good stroller.
On the flip, a real R&B beauty in the shape of ‘My Man’. Dolly’s higher pitch to her voice is perfect as she regales the listener of the mischief of being the third point in a love triangle. A top jive track on a top drawer 45
Nellie Rutherford – Repro 45
Nellie Rutherford’s recording output appears to be two 45s on the Hickory label in 1962, and that’s all. Here is one on a repro 45
The ‘A’ side ‘Laughing at Me’ was written by the prolific husband and wife team Felice and Boudleaux Bryant. This is a stomping R&B stroller with a touch of the Popcorn sound of the early 60’s
Flip it over and you have a version of John D Loudermilk’s ‘Turn Me On’, an atmospheric ballad, which has also been covered by the likes of Nina Simone and Norah Jones since Nellie Rutherford’s version
Nellie Rutherford’s recording output appears to be two 45s on the Hickory label in 1962, and that’s all. Here is one on a repro 45
The ‘A’ side ‘Laughing at Me’ was written by the prolific husband and wife team Felice and Boudleaux Bryant. This is a stomping R&B stroller with a touch of the Popcorn sound of the early 60’s
Flip it over and you have a version of John D Loudermilk’s ‘Turn Me On’, an atmospheric ballad, which has also been covered by the likes of Nina Simone and Norah Jones since Nellie Rutherford’s version
With Covid-19 still prevalent in society, unfortunately, October Hemsby will not be going ahead. However Bill Guntrip has transferred that line up as much as possible to next October. In the meantime, here is May 2021 line up, a truly international affair as you can see from the flyer, with still more bands to be announced
Click on the flyer for further details
Click on the flyer for further details
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.
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
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.
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
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
