the bettajive review magazine #13
Mary Ann is one of our two interviews this month
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The Hicksville Bombers gig reviewed
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Welcome to our Baker's dozen issue of the Bettajive Review Magazine. We have interviews with Mary Ann the Ramblin Gal, and bassist Rich Stephenson from the Revolutionaires. And what do you know, a real gig review, featuring the Hicksville Bombers, with a review of Junior and Tanya Rae Brown's online presentation. That along with the latest 45rpms from the repro market and CD reviews from Rossella Scarlett and Flat Top Mark.
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.
Say what? There are/were comments made at gigs, weekenders and indeed on the street that sometimes make you do a double take aren’t there readers? In the 70’s and 80’s often lads would walk down the street, people would look at your hair, then at your feet, as hairdos and footwear, including migraine inducing fluorescent socks, defined your subculture it seemed. Lately some are more follically challenged than others so it’s the overall ‘look’ that makes passers-by look twice. Here’s a few examples from recent encounters, ie in the last couple of years, given being ‘out’ is somewhat limited.
Have you ever heard the expression ‘Old School’ written as ‘Old Skool’? Usually the ‘k’ in ‘Skool’ is round the wrong way, thus justifying the phonetic, and dyslexic juvenile spelling of ‘school’. It apparently pertains to the way things were in the *grits teeth* olden days. So, with me still a teenager in a fifty-something frame giving it some, or ready to give it some, on the dance floor, was I surprised when someone once told me I danced ‘Old Skool’. OK fair enoughski, there may be a certain early 70s & 80’s look to it (and others of my faction), but the person who told me such at the time, was actually young enough to be my son!
Strangely though, in the seventies, the original bop dance I encountered, was a kind of ‘heel-toe-heel-toe’ affair. Now that to me is ‘Old Skool’, and probably the first one I attempted aged about ten/eleven to ‘Tiger Feet’ by Mud I think. OK here, all you readers who recoiled in horror at the mention of a seventies band on TOTP, you did it and you know you did. Don’t try and tell me you were listening to Link Wray and the Johnny Burnette Trio then 😉
Have you ever heard the expression ‘Old School’ written as ‘Old Skool’? Usually the ‘k’ in ‘Skool’ is round the wrong way, thus justifying the phonetic, and dyslexic juvenile spelling of ‘school’. It apparently pertains to the way things were in the *grits teeth* olden days. So, with me still a teenager in a fifty-something frame giving it some, or ready to give it some, on the dance floor, was I surprised when someone once told me I danced ‘Old Skool’. OK fair enoughski, there may be a certain early 70s & 80’s look to it (and others of my faction), but the person who told me such at the time, was actually young enough to be my son!
Strangely though, in the seventies, the original bop dance I encountered, was a kind of ‘heel-toe-heel-toe’ affair. Now that to me is ‘Old Skool’, and probably the first one I attempted aged about ten/eleven to ‘Tiger Feet’ by Mud I think. OK here, all you readers who recoiled in horror at the mention of a seventies band on TOTP, you did it and you know you did. Don’t try and tell me you were listening to Link Wray and the Johnny Burnette Trio then 😉
In fact, a little later, all the lads, who weren’t trying to look hard, did that to impossible tunes like ‘Spinning Rock Boogie’. Thumbs in belt loops, heel-toe-ing backwards, in ever increasing circles, which kind of made for an Ideal Battling Tops (other vigorously spinning plastic tops on a concave base games, are available) dancefloor with adolescents bumping bums with each other.
Those who were brave enough did the fall frontwards to the press up position, flip over on to one hand and thence upright. I’ve seen a couple of those guys recently; I can imagine none of that would actually be done voluntarily anymore. They’ve got to the stage where getting off of the sofa involves a groan…..Not so much ‘old skool’ as just, ‘old’.
People ask us on occasions, what type of jive we do. It’s called ‘front room’, cos that’s where we sometimes try out moves to new songs, or settle arguments over whether a song’s a jiver or not. Over lockdown this was the only place to dance anyway. Certainly, many of you will have tried ‘front room’ before, maybe in lockdown, and if you haven’t, give it a go. We do not accept any responsibility for loss of ornaments, light fittings ending up in a million bits on the floor, or furniture in splinters, whilst doing so though!
Those who were brave enough did the fall frontwards to the press up position, flip over on to one hand and thence upright. I’ve seen a couple of those guys recently; I can imagine none of that would actually be done voluntarily anymore. They’ve got to the stage where getting off of the sofa involves a groan…..Not so much ‘old skool’ as just, ‘old’.
People ask us on occasions, what type of jive we do. It’s called ‘front room’, cos that’s where we sometimes try out moves to new songs, or settle arguments over whether a song’s a jiver or not. Over lockdown this was the only place to dance anyway. Certainly, many of you will have tried ‘front room’ before, maybe in lockdown, and if you haven’t, give it a go. We do not accept any responsibility for loss of ornaments, light fittings ending up in a million bits on the floor, or furniture in splinters, whilst doing so though!
The next encounter was a little while ago. I followed up a tip on the internet about some Nubuck style shoes that had an EVA sole, available at a well-known clothing outlet, since renamed incidentally. Now, it’s a fallacy that we only wear ‘hoooriginal’ vintage stuff. Certainly, we appreciate the vintage clothing and own a fair number of pieces each, although we do sometimes (dun dun daaaa) go into high street outlets. Some of them have the feel of an episode of CSI Miami, the way they are lit (puts on sunglasses and leaves deliberately and slowly, stage right).
Scanning, albeit rather cluelessly, the range of shoes, I was approached by an assistant offering help (man, innit). Enquiring after said footwear from the website, he suggested that the stores only tend to stock what the potential clientele of that area would purchase. ‘You’d probably need to visit one of our London stores, cos they keep the more ‘out there’ stuff you’d want’! Out there? Out there! He stood there, half my age, with a hairdo like a porcupine on his cranium, a slave to Oxy 10 ™ (other maximum strength, acne pimple treatments are available), a pick axe head through his nose, a bicycle clip in his ear lobe and less meat on him than on a butcher’s pencil. And he reckons I’m out there!
In the more southerly part of Essex, there’s a pretty well-known market on an airfield. In winter the wind cuts you into little pieces and in the summer it can bake you dry. There’s many a bargain to be had at markets, whether edible or wearable. We used to go semi-regularly (cos they sold Dax wax cheaply sometimes!), and often you get small stalls setting up selling quit-smoking aids, vibrating lumbar cushions or specialist music. Walking around a corner, there was a cacophony of rib rattling bass beats and discordant mixture of vocals suggesting the ‘singer’ had done something unspeakable to his mother (ahem) on many occasions.
The chap at the stall approached, basketball vest, long shorts (or short longs) and cap on backwards et al. ‘Hey guys, you wanna check out some bangin’ Hip Hop choons?’ I’m sure he said by my lip reading as the sound measured on the Richter scale. Now, by any stretch of the imagination, do we really look like we’re into Hip Hop? Country music stall…maybe, perhaps even the stall that has the second hand CD’s with the ’20 Rock ‘n’ Roll Greats’ from the petrol station….Hip Hop???
No, and if I was, it’d have to be Old Skool’ anyway. Innit!
Scanning, albeit rather cluelessly, the range of shoes, I was approached by an assistant offering help (man, innit). Enquiring after said footwear from the website, he suggested that the stores only tend to stock what the potential clientele of that area would purchase. ‘You’d probably need to visit one of our London stores, cos they keep the more ‘out there’ stuff you’d want’! Out there? Out there! He stood there, half my age, with a hairdo like a porcupine on his cranium, a slave to Oxy 10 ™ (other maximum strength, acne pimple treatments are available), a pick axe head through his nose, a bicycle clip in his ear lobe and less meat on him than on a butcher’s pencil. And he reckons I’m out there!
In the more southerly part of Essex, there’s a pretty well-known market on an airfield. In winter the wind cuts you into little pieces and in the summer it can bake you dry. There’s many a bargain to be had at markets, whether edible or wearable. We used to go semi-regularly (cos they sold Dax wax cheaply sometimes!), and often you get small stalls setting up selling quit-smoking aids, vibrating lumbar cushions or specialist music. Walking around a corner, there was a cacophony of rib rattling bass beats and discordant mixture of vocals suggesting the ‘singer’ had done something unspeakable to his mother (ahem) on many occasions.
The chap at the stall approached, basketball vest, long shorts (or short longs) and cap on backwards et al. ‘Hey guys, you wanna check out some bangin’ Hip Hop choons?’ I’m sure he said by my lip reading as the sound measured on the Richter scale. Now, by any stretch of the imagination, do we really look like we’re into Hip Hop? Country music stall…maybe, perhaps even the stall that has the second hand CD’s with the ’20 Rock ‘n’ Roll Greats’ from the petrol station….Hip Hop???
No, and if I was, it’d have to be Old Skool’ anyway. Innit!
Dot…dot Best tracks in the world ever ever to fricassee your frittata for this month are ‘Bring It Home To Me’ by Buddy Johnson, Gene Vincent’s ‘I Got To Get To You Yet’ and The Squadronaires ‘Rock ‘n’ Roll Boogie’……Covid-19, I’m done! You can stuff your ‘new normal’, it ain’t for me….. I long for the day when we can go into a hall and have our bones crunched by friends hugging, I long for the days of dancing until ankles look like barrage balloons, I long for the day when Danny Brown isn’t going live in ten minutes on the internet, but is on the stage spinning the platters in the same room, I long for the day when the main complaint at a weekender is that the chalet is a bit sh*t. This is the worst game of Snakes and Ladders I’ve ever played; we’re done! ……Where do accents go during songs? How does someone from the outer Hebrides, with a falsetto speaking voice, immediately sound like Johnny Cash as soon as they start singing ‘Folsom Prison Blues’?.....Covid restrictions record of the month, Johnny Burnette’s ‘Tier It Up’……..
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Tips gratefully received, it helps us keep this magazine free. Donate by using the link below, many thanks in advance
Guit down with the Browns. Some years ago, like ‘lots’, I got satellite TV, the old analogue system, which I had for a while. A fleeting glance at a channel called CMT introduced me to who would soon become, among my favourite Country music artists. In fact, it was the brilliant ‘My Wife Thinks You’re Dead’ that was the sit-up-and-listen moment. Here was a sharp and funny song, set to a country stroll, about an ex turning up, despite being ‘wanted by the police’. The video (as we called them in the 90’s, kids), was just ace. Junior’s ex had escaped from jail, pursued by a gang of, akin to, Keystone Cops. She was played by 6’7” Gwendolyn Gillingham, and had come back to get him, although Junior was married already, his wife in the video being played by his real wife Tanya Rae. If you’ve never seen it, find it!
But it was the album, ‘Guit With It’ that was equally brilliant, another favourite track of mine being ‘Highway Patrol’. But what was that instrument Junior was playing? Truth was, it’s a design of his own creation, a hybrid combination of guitar and steel guitar on the one stand so to speak. So you don’t have to keep swapping when you play a Guit-steel. That and he wore the coolest hat in the business.
But it was the album, ‘Guit With It’ that was equally brilliant, another favourite track of mine being ‘Highway Patrol’. But what was that instrument Junior was playing? Truth was, it’s a design of his own creation, a hybrid combination of guitar and steel guitar on the one stand so to speak. So you don’t have to keep swapping when you play a Guit-steel. That and he wore the coolest hat in the business.
Fast forward and to today’s age of technology. Despite not gigging in the classic sense, (although at the time of writing a couple of live shows were scheduled, with real people) we get to see Junior and Tanya Rae perform live on the internet, we watched on Twitter, from Todd’s Garage in Missouri, Guit-steel, cool hat, and all. ‘Broke Down South of Dallas’ opens the shows whether they play to a crowd or a streaming camera. There’s no more satisfying sound than the low ‘E’ string being bent using just the tuning peg on a guitar. Yeah!!!
Every attention to every detail was taken, with the couple both looking sharp and the sound spot on. ‘Mean Little Freedom Machine’ rocked, including the lowest vocal note you’re likely to hear. ‘I Gotta Get Up Every Morning Just to Say Goodnight to You’ was Junior’s first release on 45, or has he described it, a little record with a big hole in it. This has a Western Swing vibe and smashing lyrics.
‘Giddy Up 409’, the afore mentioned ‘My Wife Thinks You’re Dead’, Tanya Rae rocking out to ‘Handy Man’, ‘Freeborn Man’ has guitar solos that are showcased with such consummate ease, it makes you wonder if they are ad-libbed or scripted. A lot of a Junior Brown show is original material, however there was space for a cover or two, like Ernest Tubb and Loretta Lynn’s ‘Loose Talk’. Where did the hour, and then-some go? Already one gone and my day’s made with ‘Highway Patrol’, the extended version! Slowing down, and a yodel-tastic ‘Gal From Oaklahoma’.
Loved the melody of instrumental stuff, ‘Apache’ included and how about ‘Secret Agent Man’ then to finish off with? Did he really sing ‘Secret ‘Aging’ Man’? I tell you what readers, this was a two-hour show that flew by. Different styles of Country music, which you could compare to Ernest Tubb, Hank Williams and Jimmy Rodgers, along with more than one Western Swing slide and dare I suggest a smidgen or two of Rock n Roll. Whatever it was it was first rate entertainment. Check out their online shows on Facebook and Twitter folks.
Every attention to every detail was taken, with the couple both looking sharp and the sound spot on. ‘Mean Little Freedom Machine’ rocked, including the lowest vocal note you’re likely to hear. ‘I Gotta Get Up Every Morning Just to Say Goodnight to You’ was Junior’s first release on 45, or has he described it, a little record with a big hole in it. This has a Western Swing vibe and smashing lyrics.
‘Giddy Up 409’, the afore mentioned ‘My Wife Thinks You’re Dead’, Tanya Rae rocking out to ‘Handy Man’, ‘Freeborn Man’ has guitar solos that are showcased with such consummate ease, it makes you wonder if they are ad-libbed or scripted. A lot of a Junior Brown show is original material, however there was space for a cover or two, like Ernest Tubb and Loretta Lynn’s ‘Loose Talk’. Where did the hour, and then-some go? Already one gone and my day’s made with ‘Highway Patrol’, the extended version! Slowing down, and a yodel-tastic ‘Gal From Oaklahoma’.
Loved the melody of instrumental stuff, ‘Apache’ included and how about ‘Secret Agent Man’ then to finish off with? Did he really sing ‘Secret ‘Aging’ Man’? I tell you what readers, this was a two-hour show that flew by. Different styles of Country music, which you could compare to Ernest Tubb, Hank Williams and Jimmy Rodgers, along with more than one Western Swing slide and dare I suggest a smidgen or two of Rock n Roll. Whatever it was it was first rate entertainment. Check out their online shows on Facebook and Twitter folks.
Spin it. With absolutely no chance of any gigs as we know them in the foreseeable future, the online DJs continue to battle against social media, to bring us hot tracks to keep the mood up. Don’t think this is a ‘this will have to do’ post, here are some top spinners putting together excellent sets.
With DJ Domino continuing with his DJ Jamborees, a monthly marathon, featuring a line-up that would grace many a weekender, provides several hours entertainment every third Saturday. So, here’s the roll call from the past couple of events. Steve Grinster, Willie Storm, Simon Flintstone (see him on Sunday nights as well), Cat Talk Lee (as well as on Thursday evenings), Steph the Professor, Craig Simpson, John Macleod, Annaleigh Morley Martin James Chandler, and Javier Serrano. Big up to Nigel Babb for putting these fine events on
Dispatch style mentions also to DJ Dirk Wildgoner over in Germany,for some ace sessions during the past few weeks, along with the ever-present Vanessa Holmes show (see CD reviews), Dave Mumbles, Robin Summerfield, Jay Cee in France with some cracking R&B, Adrian Waters and Rockin Roland’s themed shows ‘Girls, Girls. Girls’, ‘The Cars are the Stars’, ‘Black Smoke, Blue Tears’, ‘Crazy Cats and Low Down Dogz’ and ‘Razzle Dazzle’. Meanwhile over in the Lockdown Weekender, it was good to catch up with Courtney Oakes. Well done all!
It's no longer how many likes you get, but how many Cactuses, or Cacti, or Cac, even. All hail the cactus clubs around social media
With DJ Domino continuing with his DJ Jamborees, a monthly marathon, featuring a line-up that would grace many a weekender, provides several hours entertainment every third Saturday. So, here’s the roll call from the past couple of events. Steve Grinster, Willie Storm, Simon Flintstone (see him on Sunday nights as well), Cat Talk Lee (as well as on Thursday evenings), Steph the Professor, Craig Simpson, John Macleod, Annaleigh Morley Martin James Chandler, and Javier Serrano. Big up to Nigel Babb for putting these fine events on
Dispatch style mentions also to DJ Dirk Wildgoner over in Germany,for some ace sessions during the past few weeks, along with the ever-present Vanessa Holmes show (see CD reviews), Dave Mumbles, Robin Summerfield, Jay Cee in France with some cracking R&B, Adrian Waters and Rockin Roland’s themed shows ‘Girls, Girls. Girls’, ‘The Cars are the Stars’, ‘Black Smoke, Blue Tears’, ‘Crazy Cats and Low Down Dogz’ and ‘Razzle Dazzle’. Meanwhile over in the Lockdown Weekender, it was good to catch up with Courtney Oakes. Well done all!
It's no longer how many likes you get, but how many Cactuses, or Cacti, or Cac, even. All hail the cactus clubs around social media
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Well what do you know? Another live gig to report, this time in Grimsby at the Casablanca Club. Yes it was indoors with a real live band on a stage and people in and it was dead good and stuff. I could apologise for the rather juvenile initial excitement, but I won’t, the anticipation of going to an indoor gig, the first since February, was akin to taking a puppy to the park. The club itself is on two levels, a members type setting downstairs and upstairs a large function room.
Playing there were the Hicksville Bombers, seen regularly on the scene until Covid pulled the plug on it. The crowd, I believe, was limited so it looked a little spartan, plus we were told we couldn’t dance, which if you know us, isn’t exactly ideal. Not really an issue per se, when you actually encountered real people and not a pic-in-pic version on your phone, tablet or other device (you see it’s even got me speaking in cyber now). And the background music is just that. Well that is until the Bombers get on stage.
Dave Brown, Landon Filer and Paul Saunders make up the trio on guitar, bass and drums respectively, and boy do they make a no nonsense sound, opening with three thumping tracks from the latest album, ‘Low on Gas’, ‘Danger Road’ and Nick Cave’s ‘Red Right Hand’. Offsetting that with a heartfelt rendition of ‘I’ve Changed My Mind’, gave the audience a bit of downtime before ratcheting up again with the powerhouse instro from the latest 45rpm, ‘Grease Monkey’. This is a real kicker, and like many instros of that style, it doesn’t actually matter what the title is, as that’s usually just what’s randomly shouted out during the track. One of our fave Bomber tracks was up next, ‘The Prettiest Girl in Town’ followed by a couple of Elvis rockers, ‘Baby Let’s Play House’ and one of the best Sun session records, ‘You’re a Heart Breaker’.
We’re getting near the end of the first set now, and it was back to the current LP, CD 7”, 10” 4” the announcements of which were tinged in ‘ooer no missus no, saucy, Carry On Grimsby’. Landon Filer’s ‘Stand Up and Fight’ along with a fitting ‘bye for now’ ‘Goodbye Roger that, Over and Out’.
Playing there were the Hicksville Bombers, seen regularly on the scene until Covid pulled the plug on it. The crowd, I believe, was limited so it looked a little spartan, plus we were told we couldn’t dance, which if you know us, isn’t exactly ideal. Not really an issue per se, when you actually encountered real people and not a pic-in-pic version on your phone, tablet or other device (you see it’s even got me speaking in cyber now). And the background music is just that. Well that is until the Bombers get on stage.
Dave Brown, Landon Filer and Paul Saunders make up the trio on guitar, bass and drums respectively, and boy do they make a no nonsense sound, opening with three thumping tracks from the latest album, ‘Low on Gas’, ‘Danger Road’ and Nick Cave’s ‘Red Right Hand’. Offsetting that with a heartfelt rendition of ‘I’ve Changed My Mind’, gave the audience a bit of downtime before ratcheting up again with the powerhouse instro from the latest 45rpm, ‘Grease Monkey’. This is a real kicker, and like many instros of that style, it doesn’t actually matter what the title is, as that’s usually just what’s randomly shouted out during the track. One of our fave Bomber tracks was up next, ‘The Prettiest Girl in Town’ followed by a couple of Elvis rockers, ‘Baby Let’s Play House’ and one of the best Sun session records, ‘You’re a Heart Breaker’.
We’re getting near the end of the first set now, and it was back to the current LP, CD 7”, 10” 4” the announcements of which were tinged in ‘ooer no missus no, saucy, Carry On Grimsby’. Landon Filer’s ‘Stand Up and Fight’ along with a fitting ‘bye for now’ ‘Goodbye Roger that, Over and Out’.
The second set exploded into being much the same as the first with a no-nonsense belter, ‘Ready to Rumble’, from the ‘Voodoo Doll’ release (blimey is that ten years old?). Also making an appearance from that same album, ‘Love Substitute’, which morphs into ‘Howlin’ For My Baby’ as in Howlin Wolf. The problem here readers, is that these are kick-a*se boppers that normally fill a floor. I’m not saying some people succumbed, but……..
It wouldn’t be a Hicksville Bomber set without Bob Denton’s ‘Playboy’, or for that matter Johnny Horton’s ‘One Woman Man’, and Hank Mizell’s ‘Jungle Rock’ was the bizzo. I know they enjoy presenting ‘Whole Lotta Rosie’, the AC/DC seminal heavy metal classic, however I guess Rosie had put on a bit of furlough flab as her measurements seem to have increased since last we saw the Bombers. Another latter day cover they make a super cool job of, is the Body Snatchers’ ‘I Like the Way You Move’, a stick on dancefloor stroll tune, perfectly suited to the Bomber style.
Add into the mix, ‘Worrying Kind’, ‘Teenage Heaven’ and ‘Can’t Buy Your Goodbye’ and you’ve got the feel for what was a performance that gave you a welcome rock n roll boost as well as a nudge to recall what life once was.
It wouldn’t be a Hicksville Bomber set without Bob Denton’s ‘Playboy’, or for that matter Johnny Horton’s ‘One Woman Man’, and Hank Mizell’s ‘Jungle Rock’ was the bizzo. I know they enjoy presenting ‘Whole Lotta Rosie’, the AC/DC seminal heavy metal classic, however I guess Rosie had put on a bit of furlough flab as her measurements seem to have increased since last we saw the Bombers. Another latter day cover they make a super cool job of, is the Body Snatchers’ ‘I Like the Way You Move’, a stick on dancefloor stroll tune, perfectly suited to the Bomber style.
Add into the mix, ‘Worrying Kind’, ‘Teenage Heaven’ and ‘Can’t Buy Your Goodbye’ and you’ve got the feel for what was a performance that gave you a welcome rock n roll boost as well as a nudge to recall what life once was.
We had an email recently from the TR5's pictured left, with a couple of demo tracks as samples. Impressive musicianship on Eddie Cochran's Twenty Flight Rock' and Carl Perkins' 'Everybody's Trying to Be My Baby'
They are Rusty, Richey, Lucky, Chas and Ted, and have the inventive tag describing themselves as that they are somewhere between the Cavern Club and Canvey Island.
When we are all free again, check them out
They are Rusty, Richey, Lucky, Chas and Ted, and have the inventive tag describing themselves as that they are somewhere between the Cavern Club and Canvey Island.
When we are all free again, check them out
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
Mary Ann on stage (photo supplied by M. Lants)
Interview with Mary Ann the Ramblin’ Gal
It was the Rockabilly Rave in 2014, where we first saw Maryann live, at the time with the Tri Tones, playing in the downstairs hall. I think for me it was the song ‘Back to Me’ the really stood out among the musical finery on show that day. Indeed, the late John Duke Wales, (Rockabilly Duke-box) shared our appreciation for Mary Ann’s powerful vocals and enthused performance, and subsequent CD releases, ‘Supersonic Gal’ and ‘Kitten Walk’.
The 2018 Rockabilly Rave saw her make a second appearance, this time with the lads from Cherry Casino and the Gamblers, presenting a show choc full of delights, such as ‘Pink Shoelaces’ and ‘Counting Sheep Over You’.
Originally from Tallinn, the capital of Estonia, the republic on the East Coast of the Baltic Sea, she now resides in Sweden and has recently released a 45rpm (see our review from last month). A chat and interview was well overdue we thought.
BJR. It’s always interesting to know how and where our interviewees got into their music. How did it happen for you?
MA My way to the 50’s music started actually as a teenager, when I was a punk and my favourite band was The Clash. They were playing some 1950’s covers and there I discovered rockabilly for myself.
BJR. A lot of people describe what we all do as a ‘scene’. Was there much interest in 50’s Rock n Roll or Rockabilly in Estonia?
MA Unfortunately the 50’s scene in Estonia is very small. And people are more into ‘’late’’ rocknroll and rockabilly not so much into authentic 50’s music/ style.
BJR. Who influenced you to take up playing the guitar, and did you have formal teaching or lessons?
MA My mother has always played different instruments, including acoustic guitar. And we always had family jam sessions at the family parties/ get togethers. So, I was just learning by myself at home. But when I met Artur and joined The Tri-Tones, then he gave me formal teaching lessons.
BJR. Do you recall your first live performance?
MA Yes, the very first live performance was when I was 9 and we were performing with our choir at the big national song fest in Tallinn. But with the band my first performance was when I was 15 and I still remember how my legs were shaking, because I was nervous. I couldn’t hold my legs from shaking and I thought that everybody can see it, but nobody noticed. What a funny feeling.
BJR. This is always a difficult question, but here goes. Who are your musical heroes? Either from the 50’s or present day.
MA My biggest musical hero is Hank Williams. He has influenced my style a lot.
My big favorites are also June Webb, Jack Scott, Jimmy Kirkland, Billy Harlan etc.
There were so many good artists back in the days.
BJR. As well as covering popular songs, you have written a number of songs yourself. Where did you learn English, and did you prepare a song in your own language before presenting it in English?
MA I have learned English in school and additionally through media.
When I write a song in English then I write it from the beginning in English.
In my school days, the best way to study and remember new material was to put the text into music. I have very good memory to remember the lyrics.
BJR. Have you ever sung a Rock n Roll song in your mother tongue ‘Uralic’
MA Yes, to some Rock ‘n’ Roll song I have written lyrics in Estonian by myself.
But also many good Rock ‘n’ Roll and country songs have already lyrics in Estonian, for example Jambalaya and Hello Mary Lou were big hits in Estonian language by local artists.
It was the Rockabilly Rave in 2014, where we first saw Maryann live, at the time with the Tri Tones, playing in the downstairs hall. I think for me it was the song ‘Back to Me’ the really stood out among the musical finery on show that day. Indeed, the late John Duke Wales, (Rockabilly Duke-box) shared our appreciation for Mary Ann’s powerful vocals and enthused performance, and subsequent CD releases, ‘Supersonic Gal’ and ‘Kitten Walk’.
The 2018 Rockabilly Rave saw her make a second appearance, this time with the lads from Cherry Casino and the Gamblers, presenting a show choc full of delights, such as ‘Pink Shoelaces’ and ‘Counting Sheep Over You’.
Originally from Tallinn, the capital of Estonia, the republic on the East Coast of the Baltic Sea, she now resides in Sweden and has recently released a 45rpm (see our review from last month). A chat and interview was well overdue we thought.
BJR. It’s always interesting to know how and where our interviewees got into their music. How did it happen for you?
MA My way to the 50’s music started actually as a teenager, when I was a punk and my favourite band was The Clash. They were playing some 1950’s covers and there I discovered rockabilly for myself.
BJR. A lot of people describe what we all do as a ‘scene’. Was there much interest in 50’s Rock n Roll or Rockabilly in Estonia?
MA Unfortunately the 50’s scene in Estonia is very small. And people are more into ‘’late’’ rocknroll and rockabilly not so much into authentic 50’s music/ style.
BJR. Who influenced you to take up playing the guitar, and did you have formal teaching or lessons?
MA My mother has always played different instruments, including acoustic guitar. And we always had family jam sessions at the family parties/ get togethers. So, I was just learning by myself at home. But when I met Artur and joined The Tri-Tones, then he gave me formal teaching lessons.
BJR. Do you recall your first live performance?
MA Yes, the very first live performance was when I was 9 and we were performing with our choir at the big national song fest in Tallinn. But with the band my first performance was when I was 15 and I still remember how my legs were shaking, because I was nervous. I couldn’t hold my legs from shaking and I thought that everybody can see it, but nobody noticed. What a funny feeling.
BJR. This is always a difficult question, but here goes. Who are your musical heroes? Either from the 50’s or present day.
MA My biggest musical hero is Hank Williams. He has influenced my style a lot.
My big favorites are also June Webb, Jack Scott, Jimmy Kirkland, Billy Harlan etc.
There were so many good artists back in the days.
BJR. As well as covering popular songs, you have written a number of songs yourself. Where did you learn English, and did you prepare a song in your own language before presenting it in English?
MA I have learned English in school and additionally through media.
When I write a song in English then I write it from the beginning in English.
In my school days, the best way to study and remember new material was to put the text into music. I have very good memory to remember the lyrics.
BJR. Have you ever sung a Rock n Roll song in your mother tongue ‘Uralic’
MA Yes, to some Rock ‘n’ Roll song I have written lyrics in Estonian by myself.
But also many good Rock ‘n’ Roll and country songs have already lyrics in Estonian, for example Jambalaya and Hello Mary Lou were big hits in Estonian language by local artists.
Mary Ann with the Tri Tones making her debut at the Rockabilly Rave 2014
BJR. You used to perform a lot of gigs in Scotland Yard, which intrigued us here as that is the headquarters of the Metropolitan Police in London. Was that a music venue?
MA Yes, it’s a pub with live music. The whole pub is furnished in Scotland Yard style, looks awesome.
BJR. You played with the Tri Tones for some time, and then changed your musical style just a little with the Ramblin’ Two. Tell us about those bands
MA Yes with The Tri Tones I played many years, mostly rockabilly. But due to different reasons the band split up and I founded a new band The Ramblin’ Two.
With the Ramblin’ Two (and when we play with a drummer it’s The Ramblin’ Three) I feel it’s real me. We play rockabilly, country boppers and keep our sound as authentic as possible. We follow the same set up, equipment and playing style as they did back in the 50’s. There are small things that can make the huge different in a sound picture. We like to keep it simple, less is more.
And with a former drummer Peeter and bass player Garik from The Tri Tones we play late 50’s rock’n’roll in another project occasionally.
BJR. We mentioned the 2014 Rockabilly Rave, had you been to the UK before? And how did the Rave compare to events you’d previously played at?
MA My sister used to live and study in London for about 7 years and during that period I have visited her many times, so I’m quite familiar with this lovely place. I like visiting UK.
When I played at The Rave for the first time, it felt very cosy and compact, it felt like a small 1950s village and I was really impressed. The audience was very warm and welcoming.
BJR. As we said in the introduction, you now live in Sweden. Are you learning another language, and would you sing in Swedish anytime?
MA That’s right, I’m learning Swedish at the moment. There are many similarities between Estonian and Swedish. So I get this warm feeling inside me every time I discover another resemblance. But yes I would sing in Swedish anytime, I do it already at home.
BJR. As we are doing this interview with Covid 19 still at pandemic levels, we wondered what you have been able to do musically, with so many events having been cancelled?
MA Unfortunately it’s like a lost year and all our shows have been cancelled. As 2 of my band members are living in Estonia and travelling is complicated, so we haven’t got a chance to get together for a while, only through internet.
But my record was released, which is a positive thing.
BJR. What projects do you have for the future?
MA I’m writing new material and have some exciting plans for the near future.
Stay tuned.
BJR. Finally, how can people get in touch with you, to hear your music and buy records?
MA Through my facebook page www.facebook.com/maryannandtheramblintwo or instagram
maryann.l/ maryannandtheramblinthree. There you can find my latest music related information and buy the records.
BJR Thank you Mariann for doing this interview for us
MA Thank you!
MA Yes, it’s a pub with live music. The whole pub is furnished in Scotland Yard style, looks awesome.
BJR. You played with the Tri Tones for some time, and then changed your musical style just a little with the Ramblin’ Two. Tell us about those bands
MA Yes with The Tri Tones I played many years, mostly rockabilly. But due to different reasons the band split up and I founded a new band The Ramblin’ Two.
With the Ramblin’ Two (and when we play with a drummer it’s The Ramblin’ Three) I feel it’s real me. We play rockabilly, country boppers and keep our sound as authentic as possible. We follow the same set up, equipment and playing style as they did back in the 50’s. There are small things that can make the huge different in a sound picture. We like to keep it simple, less is more.
And with a former drummer Peeter and bass player Garik from The Tri Tones we play late 50’s rock’n’roll in another project occasionally.
BJR. We mentioned the 2014 Rockabilly Rave, had you been to the UK before? And how did the Rave compare to events you’d previously played at?
MA My sister used to live and study in London for about 7 years and during that period I have visited her many times, so I’m quite familiar with this lovely place. I like visiting UK.
When I played at The Rave for the first time, it felt very cosy and compact, it felt like a small 1950s village and I was really impressed. The audience was very warm and welcoming.
BJR. As we said in the introduction, you now live in Sweden. Are you learning another language, and would you sing in Swedish anytime?
MA That’s right, I’m learning Swedish at the moment. There are many similarities between Estonian and Swedish. So I get this warm feeling inside me every time I discover another resemblance. But yes I would sing in Swedish anytime, I do it already at home.
BJR. As we are doing this interview with Covid 19 still at pandemic levels, we wondered what you have been able to do musically, with so many events having been cancelled?
MA Unfortunately it’s like a lost year and all our shows have been cancelled. As 2 of my band members are living in Estonia and travelling is complicated, so we haven’t got a chance to get together for a while, only through internet.
But my record was released, which is a positive thing.
BJR. What projects do you have for the future?
MA I’m writing new material and have some exciting plans for the near future.
Stay tuned.
BJR. Finally, how can people get in touch with you, to hear your music and buy records?
MA Through my facebook page www.facebook.com/maryannandtheramblintwo or instagram
maryann.l/ maryannandtheramblinthree. There you can find my latest music related information and buy the records.
BJR Thank you Mariann for doing this interview for us
MA Thank you!
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cd reviews
Rossella Scarlett - The Outsider
CD review
A few months ago, we got to review Rossella Scarlett’s hugely impressive debut EP, with the hope, and indeed expectation that there would be a natural progression to a full LP. And in the midst of the Coronavirus chaos, here it is, ‘The Outsider’. Rossella is originally from Italy, having lived in the UK now for around ten years, and it’s the Italian Record label, Go Country Records that has released this long player.
This album is the result of a collaboration between Rossella and Chris Mantello, who was also responsible for mixing, arranging, mastering and recording the tracks, which took place in Italy, the USA and UK. Chris Mantello also played electric, acoustic and steel guitars as well as banjo, dobro and mandolin (that’s way too much talent in one musician 😊 ), with the exceptions of tracks nine and eleven with Sean Meacher and John Burke respectively, taking guitar duties on. Add to that Pete Rawlings on double bass, drummer Mauro Florean, Michael Pari on trumpet with Rossella herself on acoustic guitar, vocals and backing vocals.
The listener is eased into the song list with the title track, ‘The Outsider’ a haunting and introspective recollection of a life and upbringing as an outsider, which it turns out, is auto-biographical. It’s quite the story readers, and is the first of the ten original compositions by Rossella. Picking the tempo up a little, is a true gem, ‘Don’t Say’, no nonsense lyrics, basically ending a relationship with disdain, and leaving the spurned other half in no doubt that they should be leaving. With added ‘yeehah’ at the end
‘My Man’, slows it down again, with three minutes of melancholy gorgeousness, and some sumptuous steel guitar work. That’s followed by ‘I Prefer to Sing’, a zippy rocker, clarifying the singer’s preference for singing over speaking. ‘Still Right There’ is a Dobro delight accompanying a story of a man’s loyalty and fidelity for his partner. I get the sense listening to all the tracks Rossella wrote for the album that, much of it comes from the heart, and from life experience. It conveys the love of music, and she expresses her moods and feelings so well through the lyrics. You can take ‘The Only Way I Know’ as a case in point.
Moving on to ‘This Is Not My Song’ combined excellent guitar work with Mexican style trumpet to a Latin Pasodoble tempo, and a harmony vocal. ‘I Really Don’t Care’ is a real toe tapper, and the message contained in the lyrics is as unambiguous as you could get, set to an interesting tapping beat. Hot on the heels is the delightful ‘Now You’re Gonna Be Loved’, sang in two languages, against more excellent steel guitar, with lead guitar by Sean Mencher, from the band High Noon. All that in just shy of two minutes folks!
‘Dana Lee’ has a slightly heavier feel to it, leaning to a Rockabilly style, which further showcases the versatility of Rossella’s talents as a performer and writer. ‘Guarda Che Luna’ (Look at the moon) is a cover of Fred Buscaglione’s 1959 recording. Unlike the original which was driven by piano and sax, here we have some super acoustic guitar work from John Burke. ‘Got To Go’ is another cracking frenetic and upbeat rocker, in which the vocals have a more joyful lilt to them, even though subject matter is a little blue.
And there’s a bonus track, ‘Freight Train’, which is a solo version of the track written and performed by Elizabeth Cotten (1893-1987). ‘Libba’ as she was known, was an American Folk and Blues singer who, as she was left-handed, played a guitar strung for a right-handed player, upside down. Rossella retains the style of the original delivery of the song (as opposed to the well-known Chas McDevitt/Nancy Whisky version) to really good effect, and it’s a fitting end to the thirteen-track album.
An exceptionally well put together, well-conceived and well executed collection of songs, make this debut album a must have for anyone who likes Country/Blues/Folk/Rockabilly or any point in between. Top drawer
CD review
A few months ago, we got to review Rossella Scarlett’s hugely impressive debut EP, with the hope, and indeed expectation that there would be a natural progression to a full LP. And in the midst of the Coronavirus chaos, here it is, ‘The Outsider’. Rossella is originally from Italy, having lived in the UK now for around ten years, and it’s the Italian Record label, Go Country Records that has released this long player.
This album is the result of a collaboration between Rossella and Chris Mantello, who was also responsible for mixing, arranging, mastering and recording the tracks, which took place in Italy, the USA and UK. Chris Mantello also played electric, acoustic and steel guitars as well as banjo, dobro and mandolin (that’s way too much talent in one musician 😊 ), with the exceptions of tracks nine and eleven with Sean Meacher and John Burke respectively, taking guitar duties on. Add to that Pete Rawlings on double bass, drummer Mauro Florean, Michael Pari on trumpet with Rossella herself on acoustic guitar, vocals and backing vocals.
The listener is eased into the song list with the title track, ‘The Outsider’ a haunting and introspective recollection of a life and upbringing as an outsider, which it turns out, is auto-biographical. It’s quite the story readers, and is the first of the ten original compositions by Rossella. Picking the tempo up a little, is a true gem, ‘Don’t Say’, no nonsense lyrics, basically ending a relationship with disdain, and leaving the spurned other half in no doubt that they should be leaving. With added ‘yeehah’ at the end
‘My Man’, slows it down again, with three minutes of melancholy gorgeousness, and some sumptuous steel guitar work. That’s followed by ‘I Prefer to Sing’, a zippy rocker, clarifying the singer’s preference for singing over speaking. ‘Still Right There’ is a Dobro delight accompanying a story of a man’s loyalty and fidelity for his partner. I get the sense listening to all the tracks Rossella wrote for the album that, much of it comes from the heart, and from life experience. It conveys the love of music, and she expresses her moods and feelings so well through the lyrics. You can take ‘The Only Way I Know’ as a case in point.
Moving on to ‘This Is Not My Song’ combined excellent guitar work with Mexican style trumpet to a Latin Pasodoble tempo, and a harmony vocal. ‘I Really Don’t Care’ is a real toe tapper, and the message contained in the lyrics is as unambiguous as you could get, set to an interesting tapping beat. Hot on the heels is the delightful ‘Now You’re Gonna Be Loved’, sang in two languages, against more excellent steel guitar, with lead guitar by Sean Mencher, from the band High Noon. All that in just shy of two minutes folks!
‘Dana Lee’ has a slightly heavier feel to it, leaning to a Rockabilly style, which further showcases the versatility of Rossella’s talents as a performer and writer. ‘Guarda Che Luna’ (Look at the moon) is a cover of Fred Buscaglione’s 1959 recording. Unlike the original which was driven by piano and sax, here we have some super acoustic guitar work from John Burke. ‘Got To Go’ is another cracking frenetic and upbeat rocker, in which the vocals have a more joyful lilt to them, even though subject matter is a little blue.
And there’s a bonus track, ‘Freight Train’, which is a solo version of the track written and performed by Elizabeth Cotten (1893-1987). ‘Libba’ as she was known, was an American Folk and Blues singer who, as she was left-handed, played a guitar strung for a right-handed player, upside down. Rossella retains the style of the original delivery of the song (as opposed to the well-known Chas McDevitt/Nancy Whisky version) to really good effect, and it’s a fitting end to the thirteen-track album.
An exceptionally well put together, well-conceived and well executed collection of songs, make this debut album a must have for anyone who likes Country/Blues/Folk/Rockabilly or any point in between. Top drawer
The Vanessa Holmes Show – CD review
There are so few positives to be gained from the Covid-19 situation, however among all of the excellent online DJ sets, The Vanessa Homes Show is synonymous with Saturday night. Naturally, played at their home, it started with just her other half, Flat Top Dave Phillips behind the decks, and Vanessa taking requests and offering commentary throughout, engaging with the viewers.
Similarly, the phrases ‘I l----ove this one’ and ‘Back, back’ will be etched in Rock n Roll folk lore for years to come when hopefully this madness is over. ‘Back-back’ for the uninitiated, is the post viewers put in the comments box, after a certain social media platform cuts the broadcast off.
So, to the tribute CD from the online show, from Dave’s brother, Flat Top Mark, whose releases you will all be familiar with in previous issues of our magazine. He’s put together a box of delights from the (at the time of writing) six months of shows, along with interjections from various contributors throughout, you’ll get the picture as we go along. Indeed, the mood is set with the opening track, the ‘House Party Jingle’ featuring ‘Green Onions’ and ‘Tom Hark’.
The first track proper, is a tip-top cover track by the Empires, of Billy Williams’ 1957 Coral release, ‘The Pied Piper’, perfectly suited to Alan O’Donnell’s vocal delivery. Hot on the heels, Dion’s ‘Runaround Sue’, unusually the jive tempo version, which is a refreshingly hopped up version, rarely heard. American singer Lance Roberts recorded on both Decca and Sun Records in the late 50’s and 60’s, here is his ’59 cut on Decca, a super smooth track ‘Gonna Have Myself a Ball’.
The hostess then returns with various well-known phrases, benefitting from FTM’s mixing, over the bed of Perez Prez Prado’s ‘Guaglione’. Next up a kicking instrumental from 1965, ‘Drums Ago-Go’ from the Hollywood Persuaders. It has a newsreel clip of the Valentine’s Day Massacre to set the tone before the thumping drum beat heralds the beginning of this surf classic. And if that instro wasn’t enough, how about ‘Bei Mir Bist Du Schoen’, which follows. Often associated with the Andrews Sisters, this is a truly exquisite jazzy version from Frank Slay and his orchestra, that came out on the Swan label in 1962.
Roy Hamilton’s (1929-1969) life story is quite sad to read. His musical legacy however is a joy, having recorded with great commercial success on the Epic label, (as well as MGM and RCA) during his active years, 47-69. This track, ‘Please Louise’ is a pop tune from ’59, very much in that cleaned up era style, and an underplayed stroller.
If you are of a similar vintage to us, you will be familiar with the Flat Top Zone introduction to the next track. I recall being fascinated by the British Radiophonic Workshop as a child, and wondered just what went on there, (workshops to me as a kid, had tools and machines in them), as they produced scores to some of the most recognisable programs of the 50’s and 60’s. Here it’s Doctor Who, with Dalek interjection, and morphing into John Barry Orchestra’s ‘James Bond Theme’. And that’s just the introduction, here’s the track, ‘Buzzzzzz’ by Jimmy Gordon, a familiar and popular dancefloor stroller, in the clubs when we could go, and the Holmes’ household
Dorsey Burnette (1932-79), along with his brother Johnny, are responsible for some of the best-known Rockabilly tracks known to man, as well being prolific songwriters for many other artists. Dorsey’s ‘Waterboy’ is a haunting and windswept love song from (I think) 1959. One of the most prominent supporters of the FTM label and indeed the Vanessa Holmes show, is the Flamin’ Star clothing company, and it’s Beth, who introduces the next track from Elvis, with the backing of ‘King Creole’. Liking the ‘Give me and E’, start, which leads into the 1961 corker ‘I’m Coming Home’.
A rockabilly classic track, followed by a classic Rockabilly as two tracks hit you with a one-two punch. First, it’s Bill Lawrence’s ‘Hey Baby’. Lawrence was from Hawaii originally and recorded this rocker in 1958, and it’s become a popular compilation tune ever since. ‘Her Love Rubbed Off’ by Carl Perkins is 1956 Sun Rockabilly at its absolute rawest and best, classic Rockabilly beat with Carl’s unmistakeable vocal delivery.
Mouse and the Traps were a band from Tyler Texas, and here they cover an R&B standard, ‘You Don’t Love Me’ in a mid-60’s Psych/Garage style. There’s some serious Hammond organ sound on this, folks, if you’re into that cadence. The House Party Jingle heralds the return of the hostess, cajoling Dave into getting himself sorted, before we launch into ‘Teenage Rock’. This 1957 slice of coolness was recorded by North Philadelphia Doo Wop group Ronnie Jones and the Classmates on the End Record label (which was bought by Roulette in ’62).
Mister Excitement, Jackie Wilson is up next and ‘Take One Step’. Wilson’s incredible four octave range tenor voice is showcased to it’s full prominence here, on this up tempo rocker from 1964. A quality ‘B’ side from 1956 next with Louis Jordan’s ‘Big Bess’. Known as the ‘King of the Jukebox’, Jordan (1908-75) was a musician, bandleader, sax player and vocalist, who produced some memorable tracks toward the end of the swing era, this being one them!
Billy ‘Crash’ Craddock’s strolling beat of ‘Boom Boom Baby’ was a big hit in Australia in ’59, but made no impact on the US charts. It made an impression on the Rock n Roll music circuit in the UK however, and is a most welcome track here. A bit of Zydeco then? Don’t mind if I do, with Boozoo Chavis’ ‘Do It All Night Long’ which has a familiar ‘hook’ to it, set by the rhythm of the accordion. I believe this comes from the mid-80’s and featured in the Robert Mugge film Kingdom of the Zydeco from 1994. Enjoy!
Another House Party Jingle follows, one of those that if you’ve watched this show as lockdown was initially released, you’ll be kind of familiar with. OK, who loves Johnny and June Carter Cash’s ‘Jackson’, or, who doesn’t? Well this version features Lee Hazelwood and Nancy Sinatra, from 1967, a tambourine and harmonica driven take, that has a kind of casual sound to it. Check it out readers.
The travelling man and his loves are illustrated in one of the dance hall’s most familiar strollers, Dion’s ‘The Wanderer’, with a simply sublime tune by the Cleftones following. ‘Do You’. This has everything, a super stroll beat and perfectly pitched vocals. Speaking of perfect vocals, duos don’t come much better than the Everly Brothers. Their entry on the CD is from 1962, and ‘Little Hollywood Girl’, which despite my dad being a massive fan of the Everly’s and having loads of their material, I wasn’t familiar with. Glad I am now though!
It’s not a surprise that a Trini Lopez track had made the play list, with him passing in August 2020, and featuring heavily in a show the following weekend. The track chosen here is ‘Gentle on my Mind’, coming from the 1968 LP ‘Welcome to Trini Country’. Unfortunately, I really dislike this song, regardless of who is singing it, bearing in mind it has been covered by everyone from Dean Martin to REM, but hey, don’t let that put you off. A reading of Psalm 61, heralds the arrival of a massively popular ‘On Revival Day’ by LaVern Baker, as in LaVern Baker sings Bessie Smith from ’58, the original being from 1930.
Sam Cooke’s ‘A Change is Gonna Come’ is simply three minutes of vocal gorgeousness from 1964, which was also the year of his untimely and controversial death, aged 33. That’s your mic-drop moment and it’s left to the Holmes show to close out with commentary against the aural backdrop of the Pink Panther and Joe Loss’ theme to Steptoe and Son. At first listen I couldn’t help but think ‘Haaarold!’ and guess what, clearly, I wasn’t the only one. ‘You dirty old man’ 😊
I tell you what readers, this collection has everything, just like the Saturday night shows that it came from. I defy you not to enjoy it!
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There are so few positives to be gained from the Covid-19 situation, however among all of the excellent online DJ sets, The Vanessa Homes Show is synonymous with Saturday night. Naturally, played at their home, it started with just her other half, Flat Top Dave Phillips behind the decks, and Vanessa taking requests and offering commentary throughout, engaging with the viewers.
Similarly, the phrases ‘I l----ove this one’ and ‘Back, back’ will be etched in Rock n Roll folk lore for years to come when hopefully this madness is over. ‘Back-back’ for the uninitiated, is the post viewers put in the comments box, after a certain social media platform cuts the broadcast off.
So, to the tribute CD from the online show, from Dave’s brother, Flat Top Mark, whose releases you will all be familiar with in previous issues of our magazine. He’s put together a box of delights from the (at the time of writing) six months of shows, along with interjections from various contributors throughout, you’ll get the picture as we go along. Indeed, the mood is set with the opening track, the ‘House Party Jingle’ featuring ‘Green Onions’ and ‘Tom Hark’.
The first track proper, is a tip-top cover track by the Empires, of Billy Williams’ 1957 Coral release, ‘The Pied Piper’, perfectly suited to Alan O’Donnell’s vocal delivery. Hot on the heels, Dion’s ‘Runaround Sue’, unusually the jive tempo version, which is a refreshingly hopped up version, rarely heard. American singer Lance Roberts recorded on both Decca and Sun Records in the late 50’s and 60’s, here is his ’59 cut on Decca, a super smooth track ‘Gonna Have Myself a Ball’.
The hostess then returns with various well-known phrases, benefitting from FTM’s mixing, over the bed of Perez Prez Prado’s ‘Guaglione’. Next up a kicking instrumental from 1965, ‘Drums Ago-Go’ from the Hollywood Persuaders. It has a newsreel clip of the Valentine’s Day Massacre to set the tone before the thumping drum beat heralds the beginning of this surf classic. And if that instro wasn’t enough, how about ‘Bei Mir Bist Du Schoen’, which follows. Often associated with the Andrews Sisters, this is a truly exquisite jazzy version from Frank Slay and his orchestra, that came out on the Swan label in 1962.
Roy Hamilton’s (1929-1969) life story is quite sad to read. His musical legacy however is a joy, having recorded with great commercial success on the Epic label, (as well as MGM and RCA) during his active years, 47-69. This track, ‘Please Louise’ is a pop tune from ’59, very much in that cleaned up era style, and an underplayed stroller.
If you are of a similar vintage to us, you will be familiar with the Flat Top Zone introduction to the next track. I recall being fascinated by the British Radiophonic Workshop as a child, and wondered just what went on there, (workshops to me as a kid, had tools and machines in them), as they produced scores to some of the most recognisable programs of the 50’s and 60’s. Here it’s Doctor Who, with Dalek interjection, and morphing into John Barry Orchestra’s ‘James Bond Theme’. And that’s just the introduction, here’s the track, ‘Buzzzzzz’ by Jimmy Gordon, a familiar and popular dancefloor stroller, in the clubs when we could go, and the Holmes’ household
Dorsey Burnette (1932-79), along with his brother Johnny, are responsible for some of the best-known Rockabilly tracks known to man, as well being prolific songwriters for many other artists. Dorsey’s ‘Waterboy’ is a haunting and windswept love song from (I think) 1959. One of the most prominent supporters of the FTM label and indeed the Vanessa Holmes show, is the Flamin’ Star clothing company, and it’s Beth, who introduces the next track from Elvis, with the backing of ‘King Creole’. Liking the ‘Give me and E’, start, which leads into the 1961 corker ‘I’m Coming Home’.
A rockabilly classic track, followed by a classic Rockabilly as two tracks hit you with a one-two punch. First, it’s Bill Lawrence’s ‘Hey Baby’. Lawrence was from Hawaii originally and recorded this rocker in 1958, and it’s become a popular compilation tune ever since. ‘Her Love Rubbed Off’ by Carl Perkins is 1956 Sun Rockabilly at its absolute rawest and best, classic Rockabilly beat with Carl’s unmistakeable vocal delivery.
Mouse and the Traps were a band from Tyler Texas, and here they cover an R&B standard, ‘You Don’t Love Me’ in a mid-60’s Psych/Garage style. There’s some serious Hammond organ sound on this, folks, if you’re into that cadence. The House Party Jingle heralds the return of the hostess, cajoling Dave into getting himself sorted, before we launch into ‘Teenage Rock’. This 1957 slice of coolness was recorded by North Philadelphia Doo Wop group Ronnie Jones and the Classmates on the End Record label (which was bought by Roulette in ’62).
Mister Excitement, Jackie Wilson is up next and ‘Take One Step’. Wilson’s incredible four octave range tenor voice is showcased to it’s full prominence here, on this up tempo rocker from 1964. A quality ‘B’ side from 1956 next with Louis Jordan’s ‘Big Bess’. Known as the ‘King of the Jukebox’, Jordan (1908-75) was a musician, bandleader, sax player and vocalist, who produced some memorable tracks toward the end of the swing era, this being one them!
Billy ‘Crash’ Craddock’s strolling beat of ‘Boom Boom Baby’ was a big hit in Australia in ’59, but made no impact on the US charts. It made an impression on the Rock n Roll music circuit in the UK however, and is a most welcome track here. A bit of Zydeco then? Don’t mind if I do, with Boozoo Chavis’ ‘Do It All Night Long’ which has a familiar ‘hook’ to it, set by the rhythm of the accordion. I believe this comes from the mid-80’s and featured in the Robert Mugge film Kingdom of the Zydeco from 1994. Enjoy!
Another House Party Jingle follows, one of those that if you’ve watched this show as lockdown was initially released, you’ll be kind of familiar with. OK, who loves Johnny and June Carter Cash’s ‘Jackson’, or, who doesn’t? Well this version features Lee Hazelwood and Nancy Sinatra, from 1967, a tambourine and harmonica driven take, that has a kind of casual sound to it. Check it out readers.
The travelling man and his loves are illustrated in one of the dance hall’s most familiar strollers, Dion’s ‘The Wanderer’, with a simply sublime tune by the Cleftones following. ‘Do You’. This has everything, a super stroll beat and perfectly pitched vocals. Speaking of perfect vocals, duos don’t come much better than the Everly Brothers. Their entry on the CD is from 1962, and ‘Little Hollywood Girl’, which despite my dad being a massive fan of the Everly’s and having loads of their material, I wasn’t familiar with. Glad I am now though!
It’s not a surprise that a Trini Lopez track had made the play list, with him passing in August 2020, and featuring heavily in a show the following weekend. The track chosen here is ‘Gentle on my Mind’, coming from the 1968 LP ‘Welcome to Trini Country’. Unfortunately, I really dislike this song, regardless of who is singing it, bearing in mind it has been covered by everyone from Dean Martin to REM, but hey, don’t let that put you off. A reading of Psalm 61, heralds the arrival of a massively popular ‘On Revival Day’ by LaVern Baker, as in LaVern Baker sings Bessie Smith from ’58, the original being from 1930.
Sam Cooke’s ‘A Change is Gonna Come’ is simply three minutes of vocal gorgeousness from 1964, which was also the year of his untimely and controversial death, aged 33. That’s your mic-drop moment and it’s left to the Holmes show to close out with commentary against the aural backdrop of the Pink Panther and Joe Loss’ theme to Steptoe and Son. At first listen I couldn’t help but think ‘Haaarold!’ and guess what, clearly, I wasn’t the only one. ‘You dirty old man’ 😊
I tell you what readers, this collection has everything, just like the Saturday night shows that it came from. I defy you not to enjoy it!
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Interview with Rich Stephenson
Rich Stephenson, bassist with North East band the Revolutionaires, has been a feature in the rhythm room of the bands he’s played in on the Rock n Roll circuit for many years now. Recently though, he has branched out to share his skills, by way of bass tuition. So, we thought we’d get the low down on the man and his music.
BJR. First things first, where did your interest in 1950’s music start?
RS – I grew up listening to my Mam and Dad’s record collection which was a mix of country and rock & roll. At 7 years old I would head downstairs before everyone got up on a Saturday morning to use the family record player. My favourites to listen to were The Best of Little Richard and The Best of Chuck Berry.
BJR. Where did your preference or curiosity for the bass sound come from?
RS – My Dad was a performing guitar/vocalist. He loved rock and roll and country music and was in need of a bass player. I was 14 when I started to play live local gigs with my Dad.
BJR. What came first for you, the upright bass or bass guitar?
RS – The electric bass guitar came first. My Dad picked up a cheap electric bass for me to start to learn. I didn’t start playing double bass until around 2000.
BJR. And which do you prefer playing?
RS – It depends on the song that I’m playing and which bass I feel is most appropriate to achieve the right sound. For me, it’s about the sound more than anything else.
BJR. Where did you acquire your bass(es)
RS – I’ve had a few different basses over the years but my current electric bass I’ve had now for close on 20 years, bought from Sound Control in Newcastle. The double bass I’m using now I bought from Andy Williams, from Some Like it Hot, who sadly is not with us anymore.
BJR. Did you have formal lessons or are you self-taught?
RS – I’m self-taught but have had some guidance from close musician friends from time to time.
BJR. Do you recall the first time you played bass live?
RS – I do. It was performing with my Dad at the local Church Hall when I was about 14years old. We played 2 45minute sets; the first set was all country music, Hank Williams, Slim Whitman, Jim Reeves and the like, and the second set was popular rock ‘n’ roll; Chuck Berry, Elvis, Jerry Lee Lewis and so on.
Rich Stephenson, bassist with North East band the Revolutionaires, has been a feature in the rhythm room of the bands he’s played in on the Rock n Roll circuit for many years now. Recently though, he has branched out to share his skills, by way of bass tuition. So, we thought we’d get the low down on the man and his music.
BJR. First things first, where did your interest in 1950’s music start?
RS – I grew up listening to my Mam and Dad’s record collection which was a mix of country and rock & roll. At 7 years old I would head downstairs before everyone got up on a Saturday morning to use the family record player. My favourites to listen to were The Best of Little Richard and The Best of Chuck Berry.
BJR. Where did your preference or curiosity for the bass sound come from?
RS – My Dad was a performing guitar/vocalist. He loved rock and roll and country music and was in need of a bass player. I was 14 when I started to play live local gigs with my Dad.
BJR. What came first for you, the upright bass or bass guitar?
RS – The electric bass guitar came first. My Dad picked up a cheap electric bass for me to start to learn. I didn’t start playing double bass until around 2000.
BJR. And which do you prefer playing?
RS – It depends on the song that I’m playing and which bass I feel is most appropriate to achieve the right sound. For me, it’s about the sound more than anything else.
BJR. Where did you acquire your bass(es)
RS – I’ve had a few different basses over the years but my current electric bass I’ve had now for close on 20 years, bought from Sound Control in Newcastle. The double bass I’m using now I bought from Andy Williams, from Some Like it Hot, who sadly is not with us anymore.
BJR. Did you have formal lessons or are you self-taught?
RS – I’m self-taught but have had some guidance from close musician friends from time to time.
BJR. Do you recall the first time you played bass live?
RS – I do. It was performing with my Dad at the local Church Hall when I was about 14years old. We played 2 45minute sets; the first set was all country music, Hank Williams, Slim Whitman, Jim Reeves and the like, and the second set was popular rock ‘n’ roll; Chuck Berry, Elvis, Jerry Lee Lewis and so on.
BJR. So who were your bass heroes, past or present (upright bass or guitar)
RS – I have been motivated by the sounds of Larry Taylor, Edgar Willis and Willie Dixon on double bass, and Tommy Shannon (bass player with Double Trouble, Stevie Ray Vaughan’s backing band) and Keith Ferguson (Fabulous Thunderbirds) on electric bass. A contemporary bass player who inspires me is Jimmy Sutton (Mighty Blues Kings & JD McPherson).
BJR. Is there a song or songs that you love to play, real ‘go to’ tunes?
RS – When playing with The Revs, I enjoy playing ‘When I Get Drunk’, ‘Last Night’, ‘Everybody Rock’ and ‘Shake It Baby’.
BJR. To the present day now, the Coronavirus has decimated the live music industry, have you been able to play live at all?
RS – We’ve only been able to play about half a dozen gigs in the last 6 months, nearly all of the bookings that were in the calendar have had to be cancelled or rearranged for next year. Some of the gigs that have been able to go ahead have been with the full Revs line-up and some have been live duo work with me and Ed as an acoustic duo under the name ‘Smokesville’.
BJR. Has this crisis been part way the catalyst for the new bass lessons venture?
RS – Yes, the mortgage has gotta be paid 😉 It had been something that I’d considered doing before but hadn’t really had the time to do it properly until now.
BJR. How will you conduct the lessons? One on one, or via a larger class on Zoom for example?
RS – Lessons will be 1-2-1. Under the current circumstances online lessons are working better, regardless of distance. 1-2-1 lessons allow me to focus on the individual, tailoring lessons to get the pace and balance right so we get the most out of each session.
BJR. Will it be a course lasting over several classes or is that up to each individual?
RS – It’s really up to each individual. Some people are looking for ongoing lessons, whilst others are just wanting a bit of a refresher. There is the option to complete grades or approach lessons more informally. I like to chat with prospective students ahead of lessons to make sure I can plan out lessons that suit the learner.
BJR. How do people get in touch with you for further information?
RS – You can contact me for further information or to book a lesson via the new facebook page – Rich Stephenson – Bass Lessons.
Many thanks Rich
BJR. So who were your bass heroes, past or present (upright bass or guitar)
RS – I have been motivated by the sounds of Larry Taylor, Edgar Willis and Willie Dixon on double bass, and Tommy Shannon (bass player with Double Trouble, Stevie Ray Vaughan’s backing band) and Keith Ferguson (Fabulous Thunderbirds) on electric bass. A contemporary bass player who inspires me is Jimmy Sutton (Mighty Blues Kings & JD McPherson).
BJR. Is there a song or songs that you love to play, real ‘go to’ tunes?
RS – When playing with The Revs, I enjoy playing ‘When I Get Drunk’, ‘Last Night’, ‘Everybody Rock’ and ‘Shake It Baby’.
BJR. To the present day now, the Coronavirus has decimated the live music industry, have you been able to play live at all?
RS – We’ve only been able to play about half a dozen gigs in the last 6 months, nearly all of the bookings that were in the calendar have had to be cancelled or rearranged for next year. Some of the gigs that have been able to go ahead have been with the full Revs line-up and some have been live duo work with me and Ed as an acoustic duo under the name ‘Smokesville’.
BJR. Has this crisis been part way the catalyst for the new bass lessons venture?
RS – Yes, the mortgage has gotta be paid 😉 It had been something that I’d considered doing before but hadn’t really had the time to do it properly until now.
BJR. How will you conduct the lessons? One on one, or via a larger class on Zoom for example?
RS – Lessons will be 1-2-1. Under the current circumstances online lessons are working better, regardless of distance. 1-2-1 lessons allow me to focus on the individual, tailoring lessons to get the pace and balance right so we get the most out of each session.
BJR. Will it be a course lasting over several classes or is that up to each individual?
RS – It’s really up to each individual. Some people are looking for ongoing lessons, whilst others are just wanting a bit of a refresher. There is the option to complete grades or approach lessons more informally. I like to chat with prospective students ahead of lessons to make sure I can plan out lessons that suit the learner.
BJR. How do people get in touch with you for further information?
RS – You can contact me for further information or to book a lesson via the new facebook page – Rich Stephenson – Bass Lessons.
Many thanks Rich
With Covid-19 still prevalent in society, unfortunately, October Hemsby didn't go 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
45rpm reviews
Here are a selection of the latest in the repro market and with some new singles to boot. Click on the vendors flyers for further details and availability
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FTM v/s Swanny – Round 1
Ding-ding, it’s round one, with DJs Flat Top Mark and Swanny each presenting one track each on this pacy and punchy twin spin.
The ‘A’ side, ‘Ain’t Nobody Gonna Take My Place’, started life as ‘B’ side for Red West, on Sonnet Records in 1960. Robert ‘Red’ Gene West, was an actor and singer, friend of Elvis and performed stunts for him in films in the 1960s. Here he is performing this delinquent, no nonsense rocker from the beginning of the 60’s, which was produced by Dorsey Burnette and Gary Paxton of the Hollywood Argyles.
Over on the ‘B’ side, a cover of Larry Williams’ ‘Slow Down’ from 1964, by Mal Ryder and the Spirits. This is a more Garage sounding take on the original, that appeared on the Vocalion Pop Record label, (controlled by Decca). Mal Ryder’s was a pseudonym for Paul Bradley Couling, who cut a few sides in ’64 and not much else in Britain, finding more notoriety in Italy.
This is bound to be a popular release folks, now available for pre-order, which is limited to 280 copies
Ding-ding, it’s round one, with DJs Flat Top Mark and Swanny each presenting one track each on this pacy and punchy twin spin.
The ‘A’ side, ‘Ain’t Nobody Gonna Take My Place’, started life as ‘B’ side for Red West, on Sonnet Records in 1960. Robert ‘Red’ Gene West, was an actor and singer, friend of Elvis and performed stunts for him in films in the 1960s. Here he is performing this delinquent, no nonsense rocker from the beginning of the 60’s, which was produced by Dorsey Burnette and Gary Paxton of the Hollywood Argyles.
Over on the ‘B’ side, a cover of Larry Williams’ ‘Slow Down’ from 1964, by Mal Ryder and the Spirits. This is a more Garage sounding take on the original, that appeared on the Vocalion Pop Record label, (controlled by Decca). Mal Ryder’s was a pseudonym for Paul Bradley Couling, who cut a few sides in ’64 and not much else in Britain, finding more notoriety in Italy.
This is bound to be a popular release folks, now available for pre-order, which is limited to 280 copies
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Betty James – 45rpm review
Betty James, cut six sides for Chess Records at the beginning of the 1960’s. Her best-known track is on the ‘A’ side of this repro 45, ‘I’m a Little Mixed Up’, recorded in 1961.
It’s a real family affair with her husband on guitar and son on bass. Her voice is powerful and the delivery meaningful, as she professes her confusion over a relationship. The guitar riff is as catchy as it is raw, making it one of today’s most sought-after strollers on the Rock n Roll circuit as well as being popular with fans of Soul music.
The ‘B’ side ‘Help Me Find My Love’ has a similar feel to the structure of the tune, but a slower tempo, and true-blue resonance. The lead guitar break is an aural treat, with Betty’s effortless and sultry vocals perfectly presented alongside.
Betty James, cut six sides for Chess Records at the beginning of the 1960’s. Her best-known track is on the ‘A’ side of this repro 45, ‘I’m a Little Mixed Up’, recorded in 1961.
It’s a real family affair with her husband on guitar and son on bass. Her voice is powerful and the delivery meaningful, as she professes her confusion over a relationship. The guitar riff is as catchy as it is raw, making it one of today’s most sought-after strollers on the Rock n Roll circuit as well as being popular with fans of Soul music.
The ‘B’ side ‘Help Me Find My Love’ has a similar feel to the structure of the tune, but a slower tempo, and true-blue resonance. The lead guitar break is an aural treat, with Betty’s effortless and sultry vocals perfectly presented alongside.
The Jaguars – repro 45
The repro market always throws up surprises, and this is no exception. Not the tracks necessarily, but certainly I didn’t know until researching the Jaguars, that this was Charlie Daniels’ band, as in the fiddle sawing ’79 hit, ‘The Devil Went Down To Georgia’, from 1959-67. Here we have a pair of sublime instrumental tracks to get the strollers out
On the ‘A’ side, ‘Jaguar’ the sax is used to sound almost like a car starting and revving, blaring out over a striding stroll beat. Why is it called Jaguar? Well that’s the only word in the tune, right at the end, that’s why 😊
The ‘B’ side, is exactly the same duration, 1:50 minutes, a guitar driven, car hop tune with wailing sax break.
A superb twin spin!
The repro market always throws up surprises, and this is no exception. Not the tracks necessarily, but certainly I didn’t know until researching the Jaguars, that this was Charlie Daniels’ band, as in the fiddle sawing ’79 hit, ‘The Devil Went Down To Georgia’, from 1959-67. Here we have a pair of sublime instrumental tracks to get the strollers out
On the ‘A’ side, ‘Jaguar’ the sax is used to sound almost like a car starting and revving, blaring out over a striding stroll beat. Why is it called Jaguar? Well that’s the only word in the tune, right at the end, that’s why 😊
The ‘B’ side, is exactly the same duration, 1:50 minutes, a guitar driven, car hop tune with wailing sax break.
A superb twin spin!
Jimmy McCracklin – Repro 45
Jimmy McCracklin was born James David Walker Jr in 1921 and performed and worked from 1945 to the year of his death, 2012, aged 91. It has been noted that he wrote almost a thousand songs, performing several hundred himself.
‘Savoy’s Jump’, on the ‘A’ side of this repro 45rpm on the Irma label. This is an anecdotal song, as Jimmy actually lived in Richmond California, played at the Savoy, which was owned by his sister in law, ‘Granny’, Willie Mae Johnson, a nickname handy for rhyming in the song. This is one of those brilliant piano driven, hand-clapping R&B numbers, from 1957, that’s a guaranteed floor filler.
The ‘B’ side ‘I’m The One’, is a slower blues number as Jimmy’s vocals suggest how glad he’s as much in love with his lady, as she is with him. Loving the sax break on this
Jimmy McCracklin was born James David Walker Jr in 1921 and performed and worked from 1945 to the year of his death, 2012, aged 91. It has been noted that he wrote almost a thousand songs, performing several hundred himself.
‘Savoy’s Jump’, on the ‘A’ side of this repro 45rpm on the Irma label. This is an anecdotal song, as Jimmy actually lived in Richmond California, played at the Savoy, which was owned by his sister in law, ‘Granny’, Willie Mae Johnson, a nickname handy for rhyming in the song. This is one of those brilliant piano driven, hand-clapping R&B numbers, from 1957, that’s a guaranteed floor filler.
The ‘B’ side ‘I’m The One’, is a slower blues number as Jimmy’s vocals suggest how glad he’s as much in love with his lady, as she is with him. Loving the sax break on this
Big Joe Turner – 45rpm review
Joseph Vernon Turner Jr, (1911-85) was a blues shouter and band leader, whose career spanned the nineteen twenties through to the eighties. It has been cited that there wouldn’t have been any Rock n Roll without Joe Turner, indeed he was given the title ‘The Grandfather of Rock n Roll’ by NME, after they announced his death in 1985.
This two-sider, a repro from the ’55 original, not only contains two of the most played jivers on the Rock n Roll music scene, but just check out the composers! On one side you have ‘The Chicken and the Hawk’ often billed with the suffix, ‘Up Up Up and Away’ written by Jerry Lieber and Mike Stoller, and on the flip, ‘Morning, Noon and Night’ by Charles Calhoun, as in ‘Shake Rattle and Roll’. A brace of the best from Big Joe
Joseph Vernon Turner Jr, (1911-85) was a blues shouter and band leader, whose career spanned the nineteen twenties through to the eighties. It has been cited that there wouldn’t have been any Rock n Roll without Joe Turner, indeed he was given the title ‘The Grandfather of Rock n Roll’ by NME, after they announced his death in 1985.
This two-sider, a repro from the ’55 original, not only contains two of the most played jivers on the Rock n Roll music scene, but just check out the composers! On one side you have ‘The Chicken and the Hawk’ often billed with the suffix, ‘Up Up Up and Away’ written by Jerry Lieber and Mike Stoller, and on the flip, ‘Morning, Noon and Night’ by Charles Calhoun, as in ‘Shake Rattle and Roll’. A brace of the best from Big Joe
Mac Rebennack & Billy Garner – 45repro review
Here’s a vinyl 45 that pairs two different songs together on one must-have 45rpm
On one side, it’s Mac Rebennack’s instrumental rocker ‘Storm Warning’ which was an ‘A’ side of a 1959 single. Rebennack (1941-2019) had the stage name Dr. John, and he was a massively successful vocalist, songwriter, pianist, and guitarist. This instro track has a Bo Diddley feel about it, the classic ‘shave and a haircut, two bits’ beat, and what a beauty it is from the New Orleans Rex label.
Turn it over, and it’s a song on the Mojo label, owned by rocker Billy Lee Riley. This is a super R&B dancer by Billy Garner, from Detroit Michigan, who also wrote the song, called ‘Little Schoolgirl’. It’s a full sounding vocal with rasping sax accompaniment, to a stroll beat.
Here’s a vinyl 45 that pairs two different songs together on one must-have 45rpm
On one side, it’s Mac Rebennack’s instrumental rocker ‘Storm Warning’ which was an ‘A’ side of a 1959 single. Rebennack (1941-2019) had the stage name Dr. John, and he was a massively successful vocalist, songwriter, pianist, and guitarist. This instro track has a Bo Diddley feel about it, the classic ‘shave and a haircut, two bits’ beat, and what a beauty it is from the New Orleans Rex label.
Turn it over, and it’s a song on the Mojo label, owned by rocker Billy Lee Riley. This is a super R&B dancer by Billy Garner, from Detroit Michigan, who also wrote the song, called ‘Little Schoolgirl’. It’s a full sounding vocal with rasping sax accompaniment, to a stroll beat.
The Midnites c/w Mickie Most – 45rpm review
Michael Peter Hayes (1938-2003) known as Mickie Most, was a phenomenally successful record producer, behind dozens of big-name acts including the Animals and Herman’s Hermits. Many of us of a certain age may well recall his forthright and frank opinions on the 70’s talent show, New Faces, effectively Mickie was a precursor to Simon Cowell.
Prior to that however, he was a successful musician in his own right, touring South Africa and having several hits out there, mainly covering Rock n Roll standards. On this 45rpm, he is covering a Cliff Richard classic ‘Move It’, and a really solid version it is too.
On the ‘B’ side, the Midnites’ curiously titled instrumental, ‘Jolly Beard’, and unlike the artist on the flip side, I know nothing of the Midnites, other than they’ve produced a darn good sound here
Both tracks have been mastered by Flat Top Mark Phillips, on this subsidiary FTM Ltd label, Sock-It Records.
Michael Peter Hayes (1938-2003) known as Mickie Most, was a phenomenally successful record producer, behind dozens of big-name acts including the Animals and Herman’s Hermits. Many of us of a certain age may well recall his forthright and frank opinions on the 70’s talent show, New Faces, effectively Mickie was a precursor to Simon Cowell.
Prior to that however, he was a successful musician in his own right, touring South Africa and having several hits out there, mainly covering Rock n Roll standards. On this 45rpm, he is covering a Cliff Richard classic ‘Move It’, and a really solid version it is too.
On the ‘B’ side, the Midnites’ curiously titled instrumental, ‘Jolly Beard’, and unlike the artist on the flip side, I know nothing of the Midnites, other than they’ve produced a darn good sound here
Both tracks have been mastered by Flat Top Mark Phillips, on this subsidiary FTM Ltd label, Sock-It Records.
The Ring-a-Dings – 45rpm review
The Ring-a-Dings were an R&B combo from Los Angeles and released a few 45’s in the early 60’s. This repro contains a well-known and oft requested stroller, ‘Snacky Poo’, c/w ‘Snacky Poo part II’. It started life as ‘Bertha Lou’ recorded by Johnny Faire in 1957, written by Johnny Burnette and John Marascalo.
The tempo is a little quicker on this reworking, the ladies will have to stroll that little bit faster
The Ring-a-Dings were an R&B combo from Los Angeles and released a few 45’s in the early 60’s. This repro contains a well-known and oft requested stroller, ‘Snacky Poo’, c/w ‘Snacky Poo part II’. It started life as ‘Bertha Lou’ recorded by Johnny Faire in 1957, written by Johnny Burnette and John Marascalo.
The tempo is a little quicker on this reworking, the ladies will have to stroll that little bit faster
Todd Rhodes & Eddie Vinson repro 45rpm
My goodness what a pairing on this 7”, two cracking R&B jivers that would, and have, grace many a dancefloor.
Side ‘A’ is Todd Rhodes’ ‘Your Mouth Got a Hole In It’. Interestingly, it’s billed as his Orchestra however I thought it was recorded with his band, The Toddlers. Pianist Todd himself was born Todd Washington Rhodes and was active from 1921 to around 1960, and this dance delight is from 1953, with the wonderfully named Pinocchio James shouting the blues to a super beat.
Eddie ‘Cleanhead’ Vinson, (1917-88) so named due to a hair product accident, is on the ‘B’ side with ‘Lonesome Train’. Now readers, don’t confuse it with the Rockabilly tune of that name, this is totally different. Vinson was a sax player and blues shouter in the BeBop and R&B era. This track was originally released on the King label in 1952. Smashing vocals and rhythm on this one, folks
Order early to avoid disappointment
My goodness what a pairing on this 7”, two cracking R&B jivers that would, and have, grace many a dancefloor.
Side ‘A’ is Todd Rhodes’ ‘Your Mouth Got a Hole In It’. Interestingly, it’s billed as his Orchestra however I thought it was recorded with his band, The Toddlers. Pianist Todd himself was born Todd Washington Rhodes and was active from 1921 to around 1960, and this dance delight is from 1953, with the wonderfully named Pinocchio James shouting the blues to a super beat.
Eddie ‘Cleanhead’ Vinson, (1917-88) so named due to a hair product accident, is on the ‘B’ side with ‘Lonesome Train’. Now readers, don’t confuse it with the Rockabilly tune of that name, this is totally different. Vinson was a sax player and blues shouter in the BeBop and R&B era. This track was originally released on the King label in 1952. Smashing vocals and rhythm on this one, folks
Order early to avoid disappointment
Tom Jones – 45rpm review
Tom Jones? I can hear the eyebrows raising at the very name. Look at a lot of artists from the early 60’s and you’ll find, it’s not unusual (pun intended) to find they have a back catalogue of rockin tracks.
Sir Thomas John Woodward, Tom Jones, recorded this 7” in 1964, as his first single release. It features a frantic jive sound to Jerry Lee Lewis’ Sun cut, ‘Breathless’ and a take of Ronnie Love’s 1960 recording on Dot Records ‘Chills and Fever’. The original 45, is super rare, so grab yourself one of these
Tom Jones? I can hear the eyebrows raising at the very name. Look at a lot of artists from the early 60’s and you’ll find, it’s not unusual (pun intended) to find they have a back catalogue of rockin tracks.
Sir Thomas John Woodward, Tom Jones, recorded this 7” in 1964, as his first single release. It features a frantic jive sound to Jerry Lee Lewis’ Sun cut, ‘Breathless’ and a take of Ronnie Love’s 1960 recording on Dot Records ‘Chills and Fever’. The original 45, is super rare, so grab yourself one of these
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:-
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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
