the bettajive review magazine #14
Welcome to the 14th issue of our online magazine. Although we still have no chance of going to any live gigs, we bring you what's hot on the Rock n Roll music scene. Our big interview is with Sister Suzie, plus we have a tribute to the late great Wildcat Pete, CD reviews from Laura B and Flat Top Mark, as well as vinyl reviews by artists such as Mark Lee Allen and Austin John.
We are however still in the midst of a pandemic and here is the latest government advice
We are however still in the midst of a pandemic and here is the latest government advice
- HANDS – Wash your hands regularly and for 20 seconds.
- FACE – Wear a face covering in indoor settings where social distancing may be difficult and where you will come into contact with people you do not normally meet.
- SPACE – Stay 2 metres apart from people you do not live with where possible, or 1 metre with extra precautions in place.
The Bettajive Review
Real to Reel The fifties/early sixties films, how about them then? Watching a lot of them now you have to wonder if the times then were really that good, and if indeed in our fast paced, multimedia driven world is better. Take a film like ‘Journey to the Centre of the Earth’ (1959) which featured popular singer of cleaned up versions of rockin’ songs, Pat Boone. It must have been at the cutting edge of special effects when it was made, even though the pre-historic monsters were clearly normal lizards, but filmed really close up. And undeniably the Dimetrodons were similar lizards, rhinoceros iguanas (Cyclura cornuta) with fake sails fitted on their backs.
Our interest however, usually takes us to the Rock n Roll films. Growing up, of course, we didn’t have video, DVD or for that matter downloads, so you had to rely on the film being on the telly. With only three channels as well, the chance of your film being on more than once a decade, was slim. Even then, schedulers would put them on at times insomniacs, or the milkman would’ve likely been the only ones up to see it. If a Rock n Roll film was scheduled, you rang your mates and spread the word as soon as possible. You booked your seat at the television and excluded all others under pain of death.
At this point, I’d exclude the Elvis films, as they were always on during the school holidays, around the time of the classic Laurel and Hardy’s and the Banana Splits. ‘We’ wanted to see stuff like ‘The Girl Can’t Help It’, and not for Jayne Mansfield’s gravity defying figure, but for the first opportunity to see recording stars we’d only seen on posters and record covers. Mine was primarily Gene Vincent, and it was so much about seeing a few fleetingly mimed moments of ‘Be Bop A Lula’. After Gene’s bit, later in the film, Eddie played ‘Twenty Flight Rock’, and I phoned my mate, just to shout ‘Watch the television!’ in a Marty ‘Fats’ Murdock stylie.
Real to Reel The fifties/early sixties films, how about them then? Watching a lot of them now you have to wonder if the times then were really that good, and if indeed in our fast paced, multimedia driven world is better. Take a film like ‘Journey to the Centre of the Earth’ (1959) which featured popular singer of cleaned up versions of rockin’ songs, Pat Boone. It must have been at the cutting edge of special effects when it was made, even though the pre-historic monsters were clearly normal lizards, but filmed really close up. And undeniably the Dimetrodons were similar lizards, rhinoceros iguanas (Cyclura cornuta) with fake sails fitted on their backs.
Our interest however, usually takes us to the Rock n Roll films. Growing up, of course, we didn’t have video, DVD or for that matter downloads, so you had to rely on the film being on the telly. With only three channels as well, the chance of your film being on more than once a decade, was slim. Even then, schedulers would put them on at times insomniacs, or the milkman would’ve likely been the only ones up to see it. If a Rock n Roll film was scheduled, you rang your mates and spread the word as soon as possible. You booked your seat at the television and excluded all others under pain of death.
At this point, I’d exclude the Elvis films, as they were always on during the school holidays, around the time of the classic Laurel and Hardy’s and the Banana Splits. ‘We’ wanted to see stuff like ‘The Girl Can’t Help It’, and not for Jayne Mansfield’s gravity defying figure, but for the first opportunity to see recording stars we’d only seen on posters and record covers. Mine was primarily Gene Vincent, and it was so much about seeing a few fleetingly mimed moments of ‘Be Bop A Lula’. After Gene’s bit, later in the film, Eddie played ‘Twenty Flight Rock’, and I phoned my mate, just to shout ‘Watch the television!’ in a Marty ‘Fats’ Murdock stylie.
That was it, although, if you stand back and analyse the plots, they are as thin as a ciggie paper. Many followed a similar theme based on Rock n Roll music being somewhat risqué, or for that matter, evil. You’d have your star male, pivotal to the plot, perfectly turned out in every way with suits and threads that you’d trade your nan for these days! He was clean shaven and chiselled out of granite. He has a friend, a loyal, but basically a downright dippy bumbling buffoon of a friend.
The female star, is a stunning blonde (one assumes as it’s in black and white), and appears in soft focus, while miming to her songs. Her friend is a bespectacled plain-Jane wearing a sweater and sensible shoes, and a bit of a girlie swot at school. The bad lads, and lasses, are depicted by their somewhat unkempt look, leather jackets, hats on the tilt, the girls wearing slightly revealing tops, and daring to drink alcohol, and smoking cigarettes from a flip-top box. Our hero usually has an eccentric, fun loving aunt or two, in a Margaret Rutherford/Pat Coombes/Esma Cannon mould.
The long and short of the plot is that the hero and his mate, based on the artists they have watched on the TV (cue crow barred performances of top notch artists), want to put on a gig at the venue owned by the father of the heroine. The committee of the venue characterised by their old age, blustering diction and soup strainer moustaches, categorically forbid such a function. The hero and heroine decide to go ahead anyway, the ne’er do wells, who have been secretly paid, by one of the committee, for their interference arrive on their bikes and in noisy hot rods, and start a fight. But they’ve taken on more than they expected. The hero’s friend, who has hidden in a cupboard, in a great display of valour, opens the doors and dongs one of them on the head with a frying pan (quite where he got it is up for discussion). The two aunts, take exception to the invaders, and show their propensity for martial arts and send a couple of leather clad scallywags packing with a few well-placed drop kicks. The yobs disappear in their rods and on their bikes just as the committee, who have been tipped off about the melee, arrive en masse. The heroine’s friend delays them while the hall is cleaned up, as they wag their fingers at her, and a policeman arrives.
Inside, however, the scene is one of controlled paradise, with everyone jiving perfectly to Bill Haley, Fats Domino or some incarnation of an Alan Freed orchestra. The hero’s friend is no longer the subject of ridicule, once he comes out of the cupboard, and is smitten by the beauty of the heroine’s friend who takes her glasses off and reveals she’s really a Grace Kelly look-alike. The aunties grab the committee members and dance with them, the policeman tilts his hat with his baton, smiles and leaves, his work is done here. The two heroes survey the scene with cheesy grins as the credits roll.
It’s all done with such innocence, and clearly with a bias toward the music. Those that oppose are depicted as twerps (quite rightly I may venture). There’s no nudity or profanity, and even the fights are more Sunday school handbags, than street fighter. But above all it’s pointing out what Rock n Roll music is about then and indeed today.
This stuff is all available in a variety of different mediums now, hopefully I haven’t given away the plots…. 😊😉
The female star, is a stunning blonde (one assumes as it’s in black and white), and appears in soft focus, while miming to her songs. Her friend is a bespectacled plain-Jane wearing a sweater and sensible shoes, and a bit of a girlie swot at school. The bad lads, and lasses, are depicted by their somewhat unkempt look, leather jackets, hats on the tilt, the girls wearing slightly revealing tops, and daring to drink alcohol, and smoking cigarettes from a flip-top box. Our hero usually has an eccentric, fun loving aunt or two, in a Margaret Rutherford/Pat Coombes/Esma Cannon mould.
The long and short of the plot is that the hero and his mate, based on the artists they have watched on the TV (cue crow barred performances of top notch artists), want to put on a gig at the venue owned by the father of the heroine. The committee of the venue characterised by their old age, blustering diction and soup strainer moustaches, categorically forbid such a function. The hero and heroine decide to go ahead anyway, the ne’er do wells, who have been secretly paid, by one of the committee, for their interference arrive on their bikes and in noisy hot rods, and start a fight. But they’ve taken on more than they expected. The hero’s friend, who has hidden in a cupboard, in a great display of valour, opens the doors and dongs one of them on the head with a frying pan (quite where he got it is up for discussion). The two aunts, take exception to the invaders, and show their propensity for martial arts and send a couple of leather clad scallywags packing with a few well-placed drop kicks. The yobs disappear in their rods and on their bikes just as the committee, who have been tipped off about the melee, arrive en masse. The heroine’s friend delays them while the hall is cleaned up, as they wag their fingers at her, and a policeman arrives.
Inside, however, the scene is one of controlled paradise, with everyone jiving perfectly to Bill Haley, Fats Domino or some incarnation of an Alan Freed orchestra. The hero’s friend is no longer the subject of ridicule, once he comes out of the cupboard, and is smitten by the beauty of the heroine’s friend who takes her glasses off and reveals she’s really a Grace Kelly look-alike. The aunties grab the committee members and dance with them, the policeman tilts his hat with his baton, smiles and leaves, his work is done here. The two heroes survey the scene with cheesy grins as the credits roll.
It’s all done with such innocence, and clearly with a bias toward the music. Those that oppose are depicted as twerps (quite rightly I may venture). There’s no nudity or profanity, and even the fights are more Sunday school handbags, than street fighter. But above all it’s pointing out what Rock n Roll music is about then and indeed today.
This stuff is all available in a variety of different mediums now, hopefully I haven’t given away the plots…. 😊😉
With that in mind, there has been a few firm faves on Talking Pictures (Freeview channel 81, Freesat channel 306, Sky 343) recently. Of course, many of you would have seen Cliff in ‘Summer Holiday’ for example, driving his friends and some girls they meet across Europe. The travelling bus scenes often consisted of the countryside whizzing by, while Cliff sang or chatted at the wheel. I took all that in as a kid, not thinking that there was a bunch of heavy geezers rocking it and pre-filmed scenery scrolling by.
Nor did I ever wonder why all those guys, and the three girls they picked up on the way, were fooled by Lauri Peters flimsy disguise. This was released in 1963, and bear in mind it’s success at the box office. It was second only to ‘From Russia With Love’. And of course there was a big chunk of music to appreciate, the title track, plus one of our favourite jivers ‘Dancing Shoes’ and indeed the Shadows’ ‘Foot Tapper’.
With a plot not wholly dissimilar to the description above, ‘It’s Trad Dad’ from 1962, with Helen Shapiro and Craig Douglas attempting to put on a jazz festival despite local objections. This one had some blue-chip acts in it, Gene dressed all in white performing a truncated version of ‘Spaceship to Mars’, as well as Chubby Checker, Del Shannon, the Brook Brothers and Gary US Bonds among others
‘Live It Up’, also from ’63, or ‘Sing & Swing’ in the USA, a procession of Joe Meek tracks (with a couple of exceptions), worth it for the appearance of Gene Vincent polishing a traction engine and singing ‘Temptation Baby’.
‘Six-Five Special’ from 1958, features two girls heading to London on an overnight train, to hopefully get one of them an audition to make her name there. They bump into numerous musicians and singers on the way who are only too pleased to break in to song. Good for everyone, cos my mum was a fan of Dickie Valentine, and naturally we appreciated seeing the likes of Lonnie Donegan, the King Brothers and Jim Dale
I guess many of us are more accustomed to Jim Dale as characters such as Dr Nookey, sliding downstairs on a hospital trolley, and saying ‘Phwoaar’* in Carry On films, but his swinging version of ‘Train Kept a Rollin’ is one of the many musical delights of the film. Just as well, as the story is twaddle.
As they occasionally run Elvis films (Fun in Acapulco and King Creole have been on recently) I’m sure it’s only a matter of time before the ‘classics’ like the afore mentioned ‘Girl Can’t Help It’. ‘Don’t Knock the Rock’, ‘Rock Rock Rock’ and ‘Rock Around the Clock’ et al, will soon make an appearance.
Nor did I ever wonder why all those guys, and the three girls they picked up on the way, were fooled by Lauri Peters flimsy disguise. This was released in 1963, and bear in mind it’s success at the box office. It was second only to ‘From Russia With Love’. And of course there was a big chunk of music to appreciate, the title track, plus one of our favourite jivers ‘Dancing Shoes’ and indeed the Shadows’ ‘Foot Tapper’.
With a plot not wholly dissimilar to the description above, ‘It’s Trad Dad’ from 1962, with Helen Shapiro and Craig Douglas attempting to put on a jazz festival despite local objections. This one had some blue-chip acts in it, Gene dressed all in white performing a truncated version of ‘Spaceship to Mars’, as well as Chubby Checker, Del Shannon, the Brook Brothers and Gary US Bonds among others
‘Live It Up’, also from ’63, or ‘Sing & Swing’ in the USA, a procession of Joe Meek tracks (with a couple of exceptions), worth it for the appearance of Gene Vincent polishing a traction engine and singing ‘Temptation Baby’.
‘Six-Five Special’ from 1958, features two girls heading to London on an overnight train, to hopefully get one of them an audition to make her name there. They bump into numerous musicians and singers on the way who are only too pleased to break in to song. Good for everyone, cos my mum was a fan of Dickie Valentine, and naturally we appreciated seeing the likes of Lonnie Donegan, the King Brothers and Jim Dale
I guess many of us are more accustomed to Jim Dale as characters such as Dr Nookey, sliding downstairs on a hospital trolley, and saying ‘Phwoaar’* in Carry On films, but his swinging version of ‘Train Kept a Rollin’ is one of the many musical delights of the film. Just as well, as the story is twaddle.
As they occasionally run Elvis films (Fun in Acapulco and King Creole have been on recently) I’m sure it’s only a matter of time before the ‘classics’ like the afore mentioned ‘Girl Can’t Help It’. ‘Don’t Knock the Rock’, ‘Rock Rock Rock’ and ‘Rock Around the Clock’ et al, will soon make an appearance.
Dot…dot. Best tracks in the world ever ever to unlock your lockdown for this month are ‘I Want Some More’ by the Del Moroccos, Dale Hawkins’ ‘Baby Baby’ and the Cadets ‘I Want You’……Apparently there’s ‘light at the end of the tunnel’ with a potential covid-19 vaccine. Hmmm, they’ve never found one for Hemsby flu, Rave rigor mortice, Riot rheumatics, Hot Rock n Boogie blerk, or club chunder, have they 😉 (Bettajive Review disclaimer, the existence of these illnesses have yet to be confirmed as we only has circumstantial evidence)….Whatever the solution ends up being, the past month has emphasised to me in particular, the extent to which digital interaction is no substitute for the real thing. Pre-the vaccine talk, I actually stepped back from the online shows for a few days. So many great DJs playing songs that evoked so many memories, it made me wonder when and indeed if, we’d ever do that again. Bit heavy this part isn’t it!......Congratulations to the artists who have been able to produce music for new recordings, we look forward to seeing your shows sometime soon………*Are we likely to see the return of ‘Phwoaar’ as a term of endearment ever again I wonder……. Hopefully, the following words will be banned soon, ‘unprecedented’, ‘exponential’, ‘furlough’, ‘restrictions’, ‘tiers’, ‘covid’, ‘lockdown’, to be replaced by ‘live on stage’, ‘crowded’, ‘weekender’ and ‘sold out’
Farewell Wildcat. As if 2020 wasn’t crap enough, a few weeks ago everyone got the news that Wildcat Pete had passed away. Now, if you’ve been into the Rock n Roll scene for anytime during the last six or seven decades, you’d have come across Pete DJing somewhere. From Caister to Hemsby, the Rave of the Riot and an incredible number of clubs and venues. Such a knowledgeable and genial man, he’d have plenty of time for a natter with anyone and everyone.
And he wasn’t shy of speaking his mind over the mic, the last time we saw him DJ was a case in point. ‘OK gang’ which is what he started many a sentence with over a microphone, ‘I haven’t got much time, due to the jive contest, so until it starts, you can all enjoy yourselves’. Then there was the time he told us he grabbed a nap before an eight o’clock set, left his chalet around seven as the sun shone. No one was around, which he couldn’t work out, until he realised that he’d slept through the night and was actually up at seven in the morning the following day to his set.
At the ‘old’ Hemsby he was DJing, and had got a copy of the newly released East Coast Teen Party Vol 6 from our mate Perry Williamson at Pink n Black Records, who also ran a stall in the main ballroom. He played ‘Carol’ by Tommy Roe, and announced afterwards what the track was, with the addition to ‘Ask Perry for it over there’. A dancer approached the decks and Pete said ‘No no, don’t come over here, ask Perry over there’. I think the guy wanted a request.
Pete was always a supporter of us, during our time at another publication, and never forgot to express gratitude to us when we mentioned his sets. He started to dedicate Elvis’ ‘Slicin’ Sand’ to us, which was puzzling, even though we really like the track. We never knew why he dedicated it to us, and when I asked him, neither did he.
I reckon his decks are already set up at some heavenly pub ready for his ‘Ok gang’. His profile picture on Facebook above, pretty much sums him up. Rest easy fella
And he wasn’t shy of speaking his mind over the mic, the last time we saw him DJ was a case in point. ‘OK gang’ which is what he started many a sentence with over a microphone, ‘I haven’t got much time, due to the jive contest, so until it starts, you can all enjoy yourselves’. Then there was the time he told us he grabbed a nap before an eight o’clock set, left his chalet around seven as the sun shone. No one was around, which he couldn’t work out, until he realised that he’d slept through the night and was actually up at seven in the morning the following day to his set.
At the ‘old’ Hemsby he was DJing, and had got a copy of the newly released East Coast Teen Party Vol 6 from our mate Perry Williamson at Pink n Black Records, who also ran a stall in the main ballroom. He played ‘Carol’ by Tommy Roe, and announced afterwards what the track was, with the addition to ‘Ask Perry for it over there’. A dancer approached the decks and Pete said ‘No no, don’t come over here, ask Perry over there’. I think the guy wanted a request.
Pete was always a supporter of us, during our time at another publication, and never forgot to express gratitude to us when we mentioned his sets. He started to dedicate Elvis’ ‘Slicin’ Sand’ to us, which was puzzling, even though we really like the track. We never knew why he dedicated it to us, and when I asked him, neither did he.
I reckon his decks are already set up at some heavenly pub ready for his ‘Ok gang’. His profile picture on Facebook above, pretty much sums him up. Rest easy fella
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Interview with Sister Suzie
It was a Rock Ridge Rumble flyer the first time we saw the name ‘Sister Suzie’, and a few mates told us that she was an act we should make sure we saw. Yes indeed, that show with The Right Band, was one of the highlights of that weekend. Here was a lady from Northumberland that (apart from insisting in one of her songs, she ‘Ain’t No Lady’) who clearly enjoyed every moment she was on stage, and delivered every last heartfelt note with a heady mix of passion and sass. Since then we’ve been able to catch a variety of Sister Suzie shows, at Atomic and the Rhythm Riot, where she also took part in the Ruth Brown tribute, performing ‘Why Me’, which could’ve been written for her! With a successful album release on CD and vinyl also, we thought it was time we caught up with Suzie for a few (socially distanced) words.
BJR. Standard opening question, where did your interest in 40’s and 50’s music start, and what age were you?
SS. Well, I was introduced to Elvis at four or five, being so young I can’t remember the age exactly but she and I adored him. My parents were into The Kinks and Country and Western so I never heard it at home, all though I did have a George Formby LP and some war time songs for my record player. It wasn’t until years later when I was in my first band at 28 that my guitarist at the time asked if I’d heard of this certain album before; it was Rufus Thomas ‘Walking the Dog’ and the album took me away somewhere I’d never been with my voice, that was the major beginning really, until then I knew some cheese!
BJR. When did the singing start?
SS. I always sang in my bedroom, only at home, and only when no one was home; although once I was on Highway with Harry Secomb ha ha ha. I sang on karaoke when I was about 15 and started liking myself a bit then. I never joined a band until late but once you pop and all that, my life has been about that even since really in one way or another.
BJR. Which performers influenced you (original or present day)? Do you have an ultimate musical hero?
SS Irma Thomas is my favourite, I love her voice, her songs, her story. I am a huge Memphis Minnie fan too all though she is from a much earlier time. She is one of the first lady blues singers who was taking no s@*t and singing and playing with the biggest backbone of a black woman living in that time in America, she, her lyrics and her riffs are made of steal!
BJR. Do you recall the first time you performed ‘live’, and what you sung?
SS Ha ha ha ha ha man its embarrassing really. The first song I sang on karaoke that day was The Greatest Love of All by Whitney Houston, I was in a pub in my home town and about 15 ha ha ha, I would do Puppet on a String and Patsy Cline songs generally.
BJR. Did you make conscious decision to perform Blues, R&B and Soul or was it a natural progression?
SS It was a progression. I had been asked to join a band, it was a rock covers band and in amongst the set were some rock blues numbers. The day Dale gave me that Rufus Thomas album to listen to I sang along to it and my voice made this new sound. I have been chasing the music ever since, blues, rhythm and blues, soul, we practiced together to do an open mic and eventually left the band and made a new one.
It was a Rock Ridge Rumble flyer the first time we saw the name ‘Sister Suzie’, and a few mates told us that she was an act we should make sure we saw. Yes indeed, that show with The Right Band, was one of the highlights of that weekend. Here was a lady from Northumberland that (apart from insisting in one of her songs, she ‘Ain’t No Lady’) who clearly enjoyed every moment she was on stage, and delivered every last heartfelt note with a heady mix of passion and sass. Since then we’ve been able to catch a variety of Sister Suzie shows, at Atomic and the Rhythm Riot, where she also took part in the Ruth Brown tribute, performing ‘Why Me’, which could’ve been written for her! With a successful album release on CD and vinyl also, we thought it was time we caught up with Suzie for a few (socially distanced) words.
BJR. Standard opening question, where did your interest in 40’s and 50’s music start, and what age were you?
SS. Well, I was introduced to Elvis at four or five, being so young I can’t remember the age exactly but she and I adored him. My parents were into The Kinks and Country and Western so I never heard it at home, all though I did have a George Formby LP and some war time songs for my record player. It wasn’t until years later when I was in my first band at 28 that my guitarist at the time asked if I’d heard of this certain album before; it was Rufus Thomas ‘Walking the Dog’ and the album took me away somewhere I’d never been with my voice, that was the major beginning really, until then I knew some cheese!
BJR. When did the singing start?
SS. I always sang in my bedroom, only at home, and only when no one was home; although once I was on Highway with Harry Secomb ha ha ha. I sang on karaoke when I was about 15 and started liking myself a bit then. I never joined a band until late but once you pop and all that, my life has been about that even since really in one way or another.
BJR. Which performers influenced you (original or present day)? Do you have an ultimate musical hero?
SS Irma Thomas is my favourite, I love her voice, her songs, her story. I am a huge Memphis Minnie fan too all though she is from a much earlier time. She is one of the first lady blues singers who was taking no s@*t and singing and playing with the biggest backbone of a black woman living in that time in America, she, her lyrics and her riffs are made of steal!
BJR. Do you recall the first time you performed ‘live’, and what you sung?
SS Ha ha ha ha ha man its embarrassing really. The first song I sang on karaoke that day was The Greatest Love of All by Whitney Houston, I was in a pub in my home town and about 15 ha ha ha, I would do Puppet on a String and Patsy Cline songs generally.
BJR. Did you make conscious decision to perform Blues, R&B and Soul or was it a natural progression?
SS It was a progression. I had been asked to join a band, it was a rock covers band and in amongst the set were some rock blues numbers. The day Dale gave me that Rufus Thomas album to listen to I sang along to it and my voice made this new sound. I have been chasing the music ever since, blues, rhythm and blues, soul, we practiced together to do an open mic and eventually left the band and made a new one.
BJR. How did the Right Band come about and who are the personnel?
SS Oh lawdy, that’s too big a story for this little box! I have been extremely lucky with who I’ve met and worked with along the way, some work out and some don’t; I had one that didn’t work out too well at all! While telling the story to a friend of mine Mick Wigfall one day and getting rather upset about it, he said to me in a thick cockney geeza accent ‘I’ll sort you out love!’ I know this guitarist he said, he plays blues AND rock and roll. I had mentioned Brian Nevill in passing as I’d worked with him for 45 mins once in The Blues Kitchen Camden and Mick says ‘Right, if you call Matt Jackson and tell him you’ve got Brian and then call Brian and tell him you’ve got Matt they’ll be onboard. I’ll be on bass and lets make you an EP’ and thats exactly what happened at the start. I lied and got them in. The rest really is too long but its either through sheer luck or sheer my being a pure motor-mouth gasbag that I’ve met so many excellent players including our extraordinary Al Nichols and the mentalist Eddie nice guy Edwards.
BJR. Your debut album, ‘Ain’t No Lady’, was sublime, and it featured cover songs and original compositions. What is your procedure for song writing, sit down between given times of the day and write, or put down what influences you and go from there?
SS. Thank you, thats kind of you to say. Oh no. I am usually doing something like riding my bike or hoovering when a song just falls out of my mouth and I have to stop what I’m doing and sing it into my phone. I take it to Matt and say play this ha ha ha and give directions for the rhythm and then the band take it the rest of the way. I haven’t met many who write that way I don’t think.
BJR. Are you words and music or do you have input from others?
SS Yeah as I said above it all comes out at once, lyrics and melody and I have a rhythm/tempo in mind too. I recently got given a backing track by someone who works for EMI and just wrote lyrics and a melody for the top and it got signed so I can work the other way too. Unfortunately though I’m useless on my guitar, I only use it to find my key for a song.
BJR. You have published your dissertation ‘Women in the Blues Pre-1960’ on your website https://sistersuzie.co.uk/my-paper-on-women-in-the-blues (readers, you need this in your life!) Tell us how that came about and what sort of research you did
SS Thanks for the plug! I just finished a degree in Social Sciences because I wanted to do one to prove I could AND I figured I’m better at people than I am at music. For my first ever essay of only 500 words, almost 4 years before my dissertation (i extended my last year because the band were too busy and it was killing me) I was given the question, ‘Is there any agency in music?’ or something along those lines. It means is there any free will, can you write music that hasn’t been heard before or isn’t influenced by anything. I had fallen majorly into the blues and had been and stood under the crossroads where Robert Johnson had sold his soul to the devil and seen the cotton fields and read about my favourite artists and it was just a natural thing for me to base my dissertation on something I love rather than the state of housing or children’s education or some such like my peers when I hadn’t had a career in mind at all. It took me a year to read and write this piece and it’s the thing I’m most proud of that I ever done.
BJR. Naturally, coronavirus has knocked the whole industry for six, however, do you have plans for future recordings (Bettajive note:- ie when are you going to record Irma Thomas’ ‘It’s Raining’ ? 😊 )
SS Ha ha ha ha I was singing that this morning! Actually there has been some happenings with The Right Band, we’re all really far apart and disconnected and its really difficult to get together at all for anything. Although I have a couple of songs I’ve been working on and as time rolls on we will get to make a new set and new recordings. However, through the on and offs of tiered lockdown Matt and I did a few duo gigs and they’re lovely, I live close to Matt so we’re looking at making something just he and I so we have something to do in this next stage of lockdown and don’t go completely bonkers.
BJR. How can people get in touch with your for bookings, info and merchandise?
SS I have a website sistersuzie.co.uk and am on all the socials, please feel free.
Thank you Suzie for the interview
SS Oh lawdy, that’s too big a story for this little box! I have been extremely lucky with who I’ve met and worked with along the way, some work out and some don’t; I had one that didn’t work out too well at all! While telling the story to a friend of mine Mick Wigfall one day and getting rather upset about it, he said to me in a thick cockney geeza accent ‘I’ll sort you out love!’ I know this guitarist he said, he plays blues AND rock and roll. I had mentioned Brian Nevill in passing as I’d worked with him for 45 mins once in The Blues Kitchen Camden and Mick says ‘Right, if you call Matt Jackson and tell him you’ve got Brian and then call Brian and tell him you’ve got Matt they’ll be onboard. I’ll be on bass and lets make you an EP’ and thats exactly what happened at the start. I lied and got them in. The rest really is too long but its either through sheer luck or sheer my being a pure motor-mouth gasbag that I’ve met so many excellent players including our extraordinary Al Nichols and the mentalist Eddie nice guy Edwards.
BJR. Your debut album, ‘Ain’t No Lady’, was sublime, and it featured cover songs and original compositions. What is your procedure for song writing, sit down between given times of the day and write, or put down what influences you and go from there?
SS. Thank you, thats kind of you to say. Oh no. I am usually doing something like riding my bike or hoovering when a song just falls out of my mouth and I have to stop what I’m doing and sing it into my phone. I take it to Matt and say play this ha ha ha and give directions for the rhythm and then the band take it the rest of the way. I haven’t met many who write that way I don’t think.
BJR. Are you words and music or do you have input from others?
SS Yeah as I said above it all comes out at once, lyrics and melody and I have a rhythm/tempo in mind too. I recently got given a backing track by someone who works for EMI and just wrote lyrics and a melody for the top and it got signed so I can work the other way too. Unfortunately though I’m useless on my guitar, I only use it to find my key for a song.
BJR. You have published your dissertation ‘Women in the Blues Pre-1960’ on your website https://sistersuzie.co.uk/my-paper-on-women-in-the-blues (readers, you need this in your life!) Tell us how that came about and what sort of research you did
SS Thanks for the plug! I just finished a degree in Social Sciences because I wanted to do one to prove I could AND I figured I’m better at people than I am at music. For my first ever essay of only 500 words, almost 4 years before my dissertation (i extended my last year because the band were too busy and it was killing me) I was given the question, ‘Is there any agency in music?’ or something along those lines. It means is there any free will, can you write music that hasn’t been heard before or isn’t influenced by anything. I had fallen majorly into the blues and had been and stood under the crossroads where Robert Johnson had sold his soul to the devil and seen the cotton fields and read about my favourite artists and it was just a natural thing for me to base my dissertation on something I love rather than the state of housing or children’s education or some such like my peers when I hadn’t had a career in mind at all. It took me a year to read and write this piece and it’s the thing I’m most proud of that I ever done.
BJR. Naturally, coronavirus has knocked the whole industry for six, however, do you have plans for future recordings (Bettajive note:- ie when are you going to record Irma Thomas’ ‘It’s Raining’ ? 😊 )
SS Ha ha ha ha I was singing that this morning! Actually there has been some happenings with The Right Band, we’re all really far apart and disconnected and its really difficult to get together at all for anything. Although I have a couple of songs I’ve been working on and as time rolls on we will get to make a new set and new recordings. However, through the on and offs of tiered lockdown Matt and I did a few duo gigs and they’re lovely, I live close to Matt so we’re looking at making something just he and I so we have something to do in this next stage of lockdown and don’t go completely bonkers.
BJR. How can people get in touch with your for bookings, info and merchandise?
SS I have a website sistersuzie.co.uk and am on all the socials, please feel free.
Thank you Suzie for the interview
cd reviews
Just a Little Love – Laura B and her Band
CD review
There are artists, that whenever they release records, are stick on winners. That’s the case with Laura B, a massive favourite with us at the Bettajive Review, helping with our magazine launch in 2019 notwithstanding.
This CD is her first since 2015, and is a massive achievement, given the conditions thrown at us all in 2020. ‘Just a Little Love’ introduces twelve of the coolest R&B cuts you’ll find, featuring the exciting combination of seven tip top musicians (plus guests) on ‘A’ grade form. A quick role call for you, Chris Corcoran on guitar, on the keys Steve Croft, upright bassist Ollie Prime, drummer Paul Richardson, with Lee Badou, Al Bland and Barry Few blowing up a storm on Baritone & Tenor saxes, and trumpet respectively.
Laura B quickly became one of the music scene’s foremost R&B vocalists and performers, and she composes a pretty good song too, as over half of this track list will demonstrate. Indeed, the opening two tracks on the CD are her own, starting with ‘Gambing Man’. This is a soulful, swinging track that has a catchy, mid-tempo hook of a rhythm set by the brass, supporting Laura’s lyrics about the trials and tribulations of a man wagering, mainly on losers it seems.
The opening riff to ‘Gonna Find Me a Good Man’, immediately put me in mind of Bo Diddley ‘Pretty Thing’, but that’s where the similarity ends. It’s a scalding and embittered, fare-thee-not-so-well goodbye to an unfaithful lover, with promise of her finding someone a whole lot better, set to a thumping blues bop beat. Next up the first cover, ‘That’s a Rockin’ Good Way’. Ok readers, how old are you? Are you thinking Shaky and Bonnie in ‘83/84 or Brook Benton and Dinah Washington in 1960? Or maybe you recall the original recording by Priscilla Bowman with the Spaniels in ’58. Well, now you can add this bouncy rocker to the mix, with it’s full sound and super keyboard solo.
Another Laura B original follows ‘Don’t Do Me No Wrong’ a smashing stroll tune with a kind of R&B meets traditional Mexican music vibe. Channelling their best BB King, the band launch into ‘Just a Little Love’, which is a cover of the 1968 Bluesway 45 release. This version just kicks butt readers, the guitar work by Chris Corcoran is exceptional and Laura’s forceful vocals set against the call-and-answer chorus from the band, makes for an aural delight. A fitting tune for the title track.
Laura’s composition ‘Mercy Me’ has a Varetta Dillard feel to the timbre and lyrics, as it rocks along at a fair pace throughout. Some Gospel next, with another original tune ‘Let The Lord Have Access To Your Heart’, a soul stirring, rousing, mid-tempo rock-a-long tune, with a LaVern Baker style to it.
When artists take time and care to choose their cover tracks, it can introduce, or reintroduce, the listener to new ‘old’ material. Such is the case with ‘I Never Missed My Baby’ recorded by Erline ‘Rock ‘n’ Roll’ Harris (1914-2004). She was one of the first to use the phrase ‘Rock ‘n’ Roll’ in its unsanctified form in the 1949 song ‘Rock ‘n’ Roll Blues’. Here Laura B has covered what was actually a ‘B’ side (well I guess she would, given her name), a lyrically interesting rocker where there’s a juxtaposition between the lady being glad the guy has gone, but by the same token, wanting him back. Whichever, the shout-back chorus and vocals retain the New Orleans style perfectly
‘Love and Treat You Right’, is another original composition, and is a lively promise of a lifetime of domestic and romantic bliss, set to a dance floor winning stroll beat. Next up is a cracking version of Varetta Dillard’s ‘You Don’t Know What You’re Missing’, a zippy rocker in the typical Dillard lyrical style, of relationship scrutiny, shall we say. Often ballads are overlooked, however occasionally one gets you almost unaware. This is the case with ‘Child of Mine’, written by Laura. This is a mother expressing her pride at raising her child just as they are about to leave the nest, and go out into the world themselves. It’s very touching, perfectly delivered musically and vocally with the Reyfordaires providing exquisite backing vocals.
Rounding the track list off is a blues masterclass, with Johnny Guitar Watson’s ’55 cut on RPM Records, ‘Too Tired’. Loving the vocal range and guitar work on this cover, which is a fitting end to the track list.
The five year wait has been worth it readers. This is, in our opinion, Laura B’s best album to date. Musically it’s top drawer, the band are en pionte. Vocally it’s versatile and powerful, while gentle and forbearing when proper to be so.
We’ve said it before, Laura B, is A Star.
CD review
There are artists, that whenever they release records, are stick on winners. That’s the case with Laura B, a massive favourite with us at the Bettajive Review, helping with our magazine launch in 2019 notwithstanding.
This CD is her first since 2015, and is a massive achievement, given the conditions thrown at us all in 2020. ‘Just a Little Love’ introduces twelve of the coolest R&B cuts you’ll find, featuring the exciting combination of seven tip top musicians (plus guests) on ‘A’ grade form. A quick role call for you, Chris Corcoran on guitar, on the keys Steve Croft, upright bassist Ollie Prime, drummer Paul Richardson, with Lee Badou, Al Bland and Barry Few blowing up a storm on Baritone & Tenor saxes, and trumpet respectively.
Laura B quickly became one of the music scene’s foremost R&B vocalists and performers, and she composes a pretty good song too, as over half of this track list will demonstrate. Indeed, the opening two tracks on the CD are her own, starting with ‘Gambing Man’. This is a soulful, swinging track that has a catchy, mid-tempo hook of a rhythm set by the brass, supporting Laura’s lyrics about the trials and tribulations of a man wagering, mainly on losers it seems.
The opening riff to ‘Gonna Find Me a Good Man’, immediately put me in mind of Bo Diddley ‘Pretty Thing’, but that’s where the similarity ends. It’s a scalding and embittered, fare-thee-not-so-well goodbye to an unfaithful lover, with promise of her finding someone a whole lot better, set to a thumping blues bop beat. Next up the first cover, ‘That’s a Rockin’ Good Way’. Ok readers, how old are you? Are you thinking Shaky and Bonnie in ‘83/84 or Brook Benton and Dinah Washington in 1960? Or maybe you recall the original recording by Priscilla Bowman with the Spaniels in ’58. Well, now you can add this bouncy rocker to the mix, with it’s full sound and super keyboard solo.
Another Laura B original follows ‘Don’t Do Me No Wrong’ a smashing stroll tune with a kind of R&B meets traditional Mexican music vibe. Channelling their best BB King, the band launch into ‘Just a Little Love’, which is a cover of the 1968 Bluesway 45 release. This version just kicks butt readers, the guitar work by Chris Corcoran is exceptional and Laura’s forceful vocals set against the call-and-answer chorus from the band, makes for an aural delight. A fitting tune for the title track.
Laura’s composition ‘Mercy Me’ has a Varetta Dillard feel to the timbre and lyrics, as it rocks along at a fair pace throughout. Some Gospel next, with another original tune ‘Let The Lord Have Access To Your Heart’, a soul stirring, rousing, mid-tempo rock-a-long tune, with a LaVern Baker style to it.
When artists take time and care to choose their cover tracks, it can introduce, or reintroduce, the listener to new ‘old’ material. Such is the case with ‘I Never Missed My Baby’ recorded by Erline ‘Rock ‘n’ Roll’ Harris (1914-2004). She was one of the first to use the phrase ‘Rock ‘n’ Roll’ in its unsanctified form in the 1949 song ‘Rock ‘n’ Roll Blues’. Here Laura B has covered what was actually a ‘B’ side (well I guess she would, given her name), a lyrically interesting rocker where there’s a juxtaposition between the lady being glad the guy has gone, but by the same token, wanting him back. Whichever, the shout-back chorus and vocals retain the New Orleans style perfectly
‘Love and Treat You Right’, is another original composition, and is a lively promise of a lifetime of domestic and romantic bliss, set to a dance floor winning stroll beat. Next up is a cracking version of Varetta Dillard’s ‘You Don’t Know What You’re Missing’, a zippy rocker in the typical Dillard lyrical style, of relationship scrutiny, shall we say. Often ballads are overlooked, however occasionally one gets you almost unaware. This is the case with ‘Child of Mine’, written by Laura. This is a mother expressing her pride at raising her child just as they are about to leave the nest, and go out into the world themselves. It’s very touching, perfectly delivered musically and vocally with the Reyfordaires providing exquisite backing vocals.
Rounding the track list off is a blues masterclass, with Johnny Guitar Watson’s ’55 cut on RPM Records, ‘Too Tired’. Loving the vocal range and guitar work on this cover, which is a fitting end to the track list.
The five year wait has been worth it readers. This is, in our opinion, Laura B’s best album to date. Musically it’s top drawer, the band are en pionte. Vocally it’s versatile and powerful, while gentle and forbearing when proper to be so.
We’ve said it before, Laura B, is A Star.
FTM In The Groove – Part Six
One of the most prolific record labels over the past couple of years, has to be FTM. It wouldn’t be a surprise if many people consider the ‘Hollywood Hunk’, ‘The Vanessa Holmes Show’, and ‘In The Groove’ series has been many people’s soundtrack to 2020. As with many compilations from Mark Phillips, he adds twists to a number of the tracks, and all are previously unissued cuts.
We open with a couple of Batman related tracks, starting with Scotty McKay’s ‘Here Comes Batman’ from 1966. McKay was one of Gene Vincent’s Bluecaps under his real name of Max Lipscomb, but has a fair-sized catalogue of recordings from the late ‘50’s to the early 70’s. This track comes from the mid-60s, and is very much in the style from that era. Hot on the heels, ‘The Joker’ by the Marketts, which is an instrumental interspersed with evil laughter from Batman’s nemesis, musically in a surf style.
The Chambers Brothers with the exception of a brief hiatus in the early 70’s, have been active since the mid-50’s. In the mid-sixties they recorded this soulful rocker, ‘Call Me’, which was the far superior ‘B’ side to ‘Seventeen’. A bit of Bo Diddley never goes amiss, and here he is doing ‘Bo’s Twist’, a monster of an instrumental track. That’s followed by Luther Ingram’s ‘Oh Baby Don’t You Weep’, about which I know nothing other than it’s cool soulful vibe.
To Larry Hall’s ‘Rebel Heart’ a stroller from 1961, with it’s male lead and female call-back vocals. Hall was probably best known for his 1959 hit ‘Sandy’, but ‘Rebel Heart’ stands well with that track. Some garage rockin’ next with Jimmy Rabbit’s ‘Pushover’, which is a ballsy guitar driven kicker from ’65. If you want the purest form of orchestral brilliance, look no further than the incredible Quincy Jones Orchestra’s instrumental version of ‘Choo Choo Ch’Boogie’. It was from a UK four track EP in 1960, and has to be heard loud and proud to fully appreciate the exquisite sound.
If you like your Doo Wop with a novelty twist, then ‘Papa’s Yellow Tie’ by the V8s on the Vibro (New Jersey) label from 1960. Think, The Coasters and tracks like ‘Charlie Brown’, that’s the kind of tempo as the story unfolds about who put the lipstick on Papa’s yellow tie. It’s a good one, readers. That’s followed by another sublime instrumental track, this time by Rock n Roll Hall of Fame member, Dave Bartholomew, who incidentally only passed away last year aged 100!. This track is from ’57, and is a piano masterclass with ample horn accompaniment, and a toe tapping tempo.
Conversely, we have the tragic figure that was Little Willie John, who died of a heart attack in Washington State Penitentiary, aged just 30. One of the massively influential R&B and Soul artists of the 50’s and early 60’s, he’s probably best known in the mainstream for ‘Fever’ from ’56. The contribution here is a super cool King ‘B’ side ‘Come on Sugar’, from ’63, among the last of his releases on that label before they parted company with him. Samuel Gene Maghett (1937-69) was professionally known as Magic Sam, and was a Chicago Bluesman, with a distinctive guitar style. ‘Chi-Town Boogie’ demonstrates that perfectly, a gem of an instrumental.
Maintaining the quality of instrumental, is the delightfully titled ‘Toes on the Nose’ by Eddie and Showmen from 1963. Cracking combination of sax and guitar work on this, by the Surf sounding band that hailed from Southern California. And there’s more to come with the theme tune to ‘The Traitors’ by the Packabeats. This band were produced by the legendary Joe Meek, and this track appears on the flip to ‘Evening in Paris’ from ’62. Heavy reverb on this, and a pretty good tune it is too folks!
More feel good tunage next with the Stereos ‘Freeze Mambo’, another ‘B’ side gem from 1958 on Warner Brothers Records, followed by ‘Am I Worth It’ by the Gimmicks, from 1963, on the French label Disques Vogue, one of just a handful of releases by the band. Back to some vocal stuff now and the curious lyrics of Casey Jones’ ‘Come and Dance’ from 1966. This British Beat band had some considerable output between the mid 60’s and early 70’s, the track featured, being their second 45 as Casey Jones and the Governors.
Nearly every release that you get from the FTM label, has a mash up of different tracks in one mix. Such is the case with ‘Let’s Groove Baby’, some of it is ‘Trampoline’ by the Spencer Davis Group (I think), but hey, you’ll have to check it out for yourselves 😊. Winston Beresford Gawke, may not be a name that readily trips off the tongue, however as Winston G, his debut single ‘Please Don’t Say’ on Parlophone in 1965, is a cheery and light stroll sound.
Bobby Cash’s ‘I Don’t Need Your Love and Kisses’, on King Records sounds like it comes straight out of the 50’s but was actually released in 1964. It has an Elvis in the movies feel to it, and should make a real impression on dancefloors, with it’s catchy rhythm. Some electric blues at it’s finest by one of the exponents of the craft, B. B. King. ‘My Baby’s Coming Home’ was one of a top twin spin on ABC-Paramount records in 1962 (the ‘B’ side was ‘Blues at Midnight’). Another stick-on dancer is up next with Johnny Guitar Watson’s ‘Deanna Baby’ from 1958. This is just a brilliant track, as Johnny holds Deanna in such high regard throughout, hoping she’ll join him on the dance floor to various tunes. Nothing to dislike about this track, at all!
Big Al Downing (1940-2005) was an entertainer, singer, song writer and pianist from Nowata County OK. This version of Jimmy McCracklin’s ‘Georgia Slop’ was a ‘B’ side to (in my opinion) the inferior ‘I Feel Good’ from 1964. We’re nearing the end now, and a stompin’ blues bopper ‘Shake That Thing’ by Hot Shot Lightnin’, the thumpin’ Diavolo mix, followed by a familiar song title ‘Shake Your Money Maker’. Many will be familiar with the Elmore James sliding gorgeousness, and indeed Hound Dog Taylor’s ‘Roll Your Moneymaker’. Here another exponent of the slide guitar gives it the raw and rockin treatment.
Twenty six varied and diverse tracks and a speckling of mid-twentieth century instro and vocal tracks. The In The Groove series continues to delight on all levels. Yes indeedy!
One of the most prolific record labels over the past couple of years, has to be FTM. It wouldn’t be a surprise if many people consider the ‘Hollywood Hunk’, ‘The Vanessa Holmes Show’, and ‘In The Groove’ series has been many people’s soundtrack to 2020. As with many compilations from Mark Phillips, he adds twists to a number of the tracks, and all are previously unissued cuts.
We open with a couple of Batman related tracks, starting with Scotty McKay’s ‘Here Comes Batman’ from 1966. McKay was one of Gene Vincent’s Bluecaps under his real name of Max Lipscomb, but has a fair-sized catalogue of recordings from the late ‘50’s to the early 70’s. This track comes from the mid-60s, and is very much in the style from that era. Hot on the heels, ‘The Joker’ by the Marketts, which is an instrumental interspersed with evil laughter from Batman’s nemesis, musically in a surf style.
The Chambers Brothers with the exception of a brief hiatus in the early 70’s, have been active since the mid-50’s. In the mid-sixties they recorded this soulful rocker, ‘Call Me’, which was the far superior ‘B’ side to ‘Seventeen’. A bit of Bo Diddley never goes amiss, and here he is doing ‘Bo’s Twist’, a monster of an instrumental track. That’s followed by Luther Ingram’s ‘Oh Baby Don’t You Weep’, about which I know nothing other than it’s cool soulful vibe.
To Larry Hall’s ‘Rebel Heart’ a stroller from 1961, with it’s male lead and female call-back vocals. Hall was probably best known for his 1959 hit ‘Sandy’, but ‘Rebel Heart’ stands well with that track. Some garage rockin’ next with Jimmy Rabbit’s ‘Pushover’, which is a ballsy guitar driven kicker from ’65. If you want the purest form of orchestral brilliance, look no further than the incredible Quincy Jones Orchestra’s instrumental version of ‘Choo Choo Ch’Boogie’. It was from a UK four track EP in 1960, and has to be heard loud and proud to fully appreciate the exquisite sound.
If you like your Doo Wop with a novelty twist, then ‘Papa’s Yellow Tie’ by the V8s on the Vibro (New Jersey) label from 1960. Think, The Coasters and tracks like ‘Charlie Brown’, that’s the kind of tempo as the story unfolds about who put the lipstick on Papa’s yellow tie. It’s a good one, readers. That’s followed by another sublime instrumental track, this time by Rock n Roll Hall of Fame member, Dave Bartholomew, who incidentally only passed away last year aged 100!. This track is from ’57, and is a piano masterclass with ample horn accompaniment, and a toe tapping tempo.
Conversely, we have the tragic figure that was Little Willie John, who died of a heart attack in Washington State Penitentiary, aged just 30. One of the massively influential R&B and Soul artists of the 50’s and early 60’s, he’s probably best known in the mainstream for ‘Fever’ from ’56. The contribution here is a super cool King ‘B’ side ‘Come on Sugar’, from ’63, among the last of his releases on that label before they parted company with him. Samuel Gene Maghett (1937-69) was professionally known as Magic Sam, and was a Chicago Bluesman, with a distinctive guitar style. ‘Chi-Town Boogie’ demonstrates that perfectly, a gem of an instrumental.
Maintaining the quality of instrumental, is the delightfully titled ‘Toes on the Nose’ by Eddie and Showmen from 1963. Cracking combination of sax and guitar work on this, by the Surf sounding band that hailed from Southern California. And there’s more to come with the theme tune to ‘The Traitors’ by the Packabeats. This band were produced by the legendary Joe Meek, and this track appears on the flip to ‘Evening in Paris’ from ’62. Heavy reverb on this, and a pretty good tune it is too folks!
More feel good tunage next with the Stereos ‘Freeze Mambo’, another ‘B’ side gem from 1958 on Warner Brothers Records, followed by ‘Am I Worth It’ by the Gimmicks, from 1963, on the French label Disques Vogue, one of just a handful of releases by the band. Back to some vocal stuff now and the curious lyrics of Casey Jones’ ‘Come and Dance’ from 1966. This British Beat band had some considerable output between the mid 60’s and early 70’s, the track featured, being their second 45 as Casey Jones and the Governors.
Nearly every release that you get from the FTM label, has a mash up of different tracks in one mix. Such is the case with ‘Let’s Groove Baby’, some of it is ‘Trampoline’ by the Spencer Davis Group (I think), but hey, you’ll have to check it out for yourselves 😊. Winston Beresford Gawke, may not be a name that readily trips off the tongue, however as Winston G, his debut single ‘Please Don’t Say’ on Parlophone in 1965, is a cheery and light stroll sound.
Bobby Cash’s ‘I Don’t Need Your Love and Kisses’, on King Records sounds like it comes straight out of the 50’s but was actually released in 1964. It has an Elvis in the movies feel to it, and should make a real impression on dancefloors, with it’s catchy rhythm. Some electric blues at it’s finest by one of the exponents of the craft, B. B. King. ‘My Baby’s Coming Home’ was one of a top twin spin on ABC-Paramount records in 1962 (the ‘B’ side was ‘Blues at Midnight’). Another stick-on dancer is up next with Johnny Guitar Watson’s ‘Deanna Baby’ from 1958. This is just a brilliant track, as Johnny holds Deanna in such high regard throughout, hoping she’ll join him on the dance floor to various tunes. Nothing to dislike about this track, at all!
Big Al Downing (1940-2005) was an entertainer, singer, song writer and pianist from Nowata County OK. This version of Jimmy McCracklin’s ‘Georgia Slop’ was a ‘B’ side to (in my opinion) the inferior ‘I Feel Good’ from 1964. We’re nearing the end now, and a stompin’ blues bopper ‘Shake That Thing’ by Hot Shot Lightnin’, the thumpin’ Diavolo mix, followed by a familiar song title ‘Shake Your Money Maker’. Many will be familiar with the Elmore James sliding gorgeousness, and indeed Hound Dog Taylor’s ‘Roll Your Moneymaker’. Here another exponent of the slide guitar gives it the raw and rockin treatment.
Twenty six varied and diverse tracks and a speckling of mid-twentieth century instro and vocal tracks. The In The Groove series continues to delight on all levels. Yes indeedy!
vinyl 45s and EP reviews
Many of the records listed below are available by mail order via the two sellers above (and others). Click on the pictures to be taken to their sites, and browse their stock in addition to those listed below.
Buddy and Ella Johnson – 45 repro review
Buddy Johnson was a songwriter and band leader active from the 30’s to the 60’s. His band was fronted by his sister Ella, four years his junior. Both the tracks on this 45rpm were written by Buddy.
The ‘A’ side ‘Bring It Home To Me’, from summer 1956, is a peppy and lively rocker, about a lady needing her man (and his loving) home with her. The ‘B’ side ‘Why Don’t Cha Stop It’ from later in ’56, has a delightful stroll tempo with the fullest orchestral sound.
To super examples of R&B that DJs will want in their sets
Buddy Johnson was a songwriter and band leader active from the 30’s to the 60’s. His band was fronted by his sister Ella, four years his junior. Both the tracks on this 45rpm were written by Buddy.
The ‘A’ side ‘Bring It Home To Me’, from summer 1956, is a peppy and lively rocker, about a lady needing her man (and his loving) home with her. The ‘B’ side ‘Why Don’t Cha Stop It’ from later in ’56, has a delightful stroll tempo with the fullest orchestral sound.
To super examples of R&B that DJs will want in their sets
Coy Jackson & Bob Luman – 45rpm repro
Here’s a butt kicking twin spin on Rimrock Records, featuring a brace of jiving beauties.
Coy Jackson’s ‘Lookout Heart’ was originally the ‘A’ side of a 45 in 1966, c/w ‘The Ring’, both written by Lila Duncan. Lately this has been given a new lease of life with Country Side of Harmonica Sam covering it, however the original version stands up well, and Coy’s vocals are complimented perfectly by the piano and steel guitar. Flip it over and Bob Luman sings a John D Loudermilk rocker originally from 1962 on Warner Brothers. This jive tempo rocker has the classic Luman vocal style, and delivery.
A fine double header
Here’s a butt kicking twin spin on Rimrock Records, featuring a brace of jiving beauties.
Coy Jackson’s ‘Lookout Heart’ was originally the ‘A’ side of a 45 in 1966, c/w ‘The Ring’, both written by Lila Duncan. Lately this has been given a new lease of life with Country Side of Harmonica Sam covering it, however the original version stands up well, and Coy’s vocals are complimented perfectly by the piano and steel guitar. Flip it over and Bob Luman sings a John D Loudermilk rocker originally from 1962 on Warner Brothers. This jive tempo rocker has the classic Luman vocal style, and delivery.
A fine double header
Diggin’ In – Austin John
EP Review
Lockdown due to the Covid 19 virus has been largely negative, but some artists have used the time productively. One such is Austin John Doody, who has produced this barn burner of an EP. Known for being the lead guitarist of the Hi Jivers, with fiancée Dawna Zahn, who’s credited with the design, Austin channels his love for Blues and R&B in four exquisite tracks.
We open with B.B. King’s ‘She’s Dynamite’, and I tell you what readers, if you could make a note of your favourite guitar riffs, they’re all here, as well as a couple of searingly hot solos. Up next Robert Johnson’s ’32-20 Blues’. This is a song about a guy waiting for his lady to return home, after she’d been out all night. He’s threatening to kill her with the 32-20 (pistol) and indeed a gatling gun, however the song leaves you wondering whether he went through with it. Austin utilises the acoustic guitar in the Delta Blues style, and it actually sounds like there’s two playing. Cracking version
‘Wah Wah Blues’ is an instrumental track heavily influenced by Earl Hooker’s electric guitar style on two tracks of that name from ’69. Four minutes of late-night blues you can happily get lost in. Finally ‘Take It Easy Baby’ another four minutes of perfect tones and timbres, and well delivered vocals.
Simply sublime
EP Review
Lockdown due to the Covid 19 virus has been largely negative, but some artists have used the time productively. One such is Austin John Doody, who has produced this barn burner of an EP. Known for being the lead guitarist of the Hi Jivers, with fiancée Dawna Zahn, who’s credited with the design, Austin channels his love for Blues and R&B in four exquisite tracks.
We open with B.B. King’s ‘She’s Dynamite’, and I tell you what readers, if you could make a note of your favourite guitar riffs, they’re all here, as well as a couple of searingly hot solos. Up next Robert Johnson’s ’32-20 Blues’. This is a song about a guy waiting for his lady to return home, after she’d been out all night. He’s threatening to kill her with the 32-20 (pistol) and indeed a gatling gun, however the song leaves you wondering whether he went through with it. Austin utilises the acoustic guitar in the Delta Blues style, and it actually sounds like there’s two playing. Cracking version
‘Wah Wah Blues’ is an instrumental track heavily influenced by Earl Hooker’s electric guitar style on two tracks of that name from ’69. Four minutes of late-night blues you can happily get lost in. Finally ‘Take It Easy Baby’ another four minutes of perfect tones and timbres, and well delivered vocals.
Simply sublime
Don Gibson – Vinyl EP review
Country Music Hall of Famer Donald Eugene Gibson (1928-2003) had the nickname, the ‘Sad Poet’ for his songs about lost love and the like. His massive hit, ‘Oh Lonesome Me’ underlined his massive song-writing talent, and the songs here are all written by him. Sleazy Records have released four tracks on this 45rpm EP, and indeed it’s the first time they’ve been released in this format.
‘Tell It Like It Is’ and the boom-chick-boom beat of ‘Who Cares For Me’ were not released until the eighties, both having a delightful cadence and rhythm. There are two alternate takes of well-known tunes on the flip-side from the late 50’s. The sound is slightly more electric, and Don’s voice is super smooth on the sublime ‘Don’t Tell Me Your Troubles’. ‘Sweet Sweet Girl’ has the finest guitar tone courtesy of Hank Garland, with just the right echo to Don’s voice
This is a top-drawer and well presented release, both musically and visually, readers
Country Music Hall of Famer Donald Eugene Gibson (1928-2003) had the nickname, the ‘Sad Poet’ for his songs about lost love and the like. His massive hit, ‘Oh Lonesome Me’ underlined his massive song-writing talent, and the songs here are all written by him. Sleazy Records have released four tracks on this 45rpm EP, and indeed it’s the first time they’ve been released in this format.
‘Tell It Like It Is’ and the boom-chick-boom beat of ‘Who Cares For Me’ were not released until the eighties, both having a delightful cadence and rhythm. There are two alternate takes of well-known tunes on the flip-side from the late 50’s. The sound is slightly more electric, and Don’s voice is super smooth on the sublime ‘Don’t Tell Me Your Troubles’. ‘Sweet Sweet Girl’ has the finest guitar tone courtesy of Hank Garland, with just the right echo to Don’s voice
This is a top-drawer and well presented release, both musically and visually, readers
Ersel Hickey – Vinyl EP review
Ersel O’Hickey, he dropped the ‘O’, (1934 – 2004) was an American Rockabilly singer, that if you don’t know his name, chances are you’ve seen his iconic image, knees bent and holding his guitar away from his body like a machine gun. He’s best known for ‘Bluebirds Over the Mountain’ commercially, which was covered by Ritchie Valens, The Echoes and the Beach Boys. ‘Goin’ Down That Road’ has graced many a Rockabilly collection too.
It's surprising when you learn the ace track ‘Shame on Me’ stayed in the vaults until the 80’s, so it’s the perfect opening track for this EP. So often people think of Adam Faith’s ‘What Do You Want’, however here’s Ersel’s version with full orchestral sound. Then there’s the frantic jiver ‘You Threw a Dart’ that’s simply a joy, followed by the more restrained, but vocally accomplished ‘You Never Can Tell’.
This is a most enjoyable, well-packed EP folks.
Ersel O’Hickey, he dropped the ‘O’, (1934 – 2004) was an American Rockabilly singer, that if you don’t know his name, chances are you’ve seen his iconic image, knees bent and holding his guitar away from his body like a machine gun. He’s best known for ‘Bluebirds Over the Mountain’ commercially, which was covered by Ritchie Valens, The Echoes and the Beach Boys. ‘Goin’ Down That Road’ has graced many a Rockabilly collection too.
It's surprising when you learn the ace track ‘Shame on Me’ stayed in the vaults until the 80’s, so it’s the perfect opening track for this EP. So often people think of Adam Faith’s ‘What Do You Want’, however here’s Ersel’s version with full orchestral sound. Then there’s the frantic jiver ‘You Threw a Dart’ that’s simply a joy, followed by the more restrained, but vocally accomplished ‘You Never Can Tell’.
This is a most enjoyable, well-packed EP folks.
Jackie Johnson – repro 45 review
Jackie Johnson’s output seems to be limited to one release, on the Willamette Record label, Eugene, Oregon (the premises looks like a domestic house now). From 1959 comes a gem of a two sider.
On the ‘A’ is a well-established tune on the rock n roll dancefloor, the bright and breezy ‘Starlight Starbright’ with the guitar skills of Leon Smith to the fore. On the ‘B’ side a waltz tempo with ‘Please Please’, and I have to say, Jackie’s voice is stunning. Surprised that this seems to be her only solo recording.
Excellent repro
Jackie Johnson’s output seems to be limited to one release, on the Willamette Record label, Eugene, Oregon (the premises looks like a domestic house now). From 1959 comes a gem of a two sider.
On the ‘A’ is a well-established tune on the rock n roll dancefloor, the bright and breezy ‘Starlight Starbright’ with the guitar skills of Leon Smith to the fore. On the ‘B’ side a waltz tempo with ‘Please Please’, and I have to say, Jackie’s voice is stunning. Surprised that this seems to be her only solo recording.
Excellent repro
Jo-Anne Campbell – repro 45
Jo-Anne Campbell was born in Jacksonville Florida in 1938. Despite having a great voice, massive commercial success seemed to elude her, although she did reach No41 in the UK charts with ‘Motorcycle Michael’.
This double sider is just excellent though, pairing two strollers together. ‘You’re Driving Me Mad’ is originally an ‘A’ side from 1958, while ‘Beachcomber’, a slightly slower stroll tempo, was an ‘A’ side from a year later.
Both are sure fire dancefloor corkers
Jo-Anne Campbell was born in Jacksonville Florida in 1938. Despite having a great voice, massive commercial success seemed to elude her, although she did reach No41 in the UK charts with ‘Motorcycle Michael’.
This double sider is just excellent though, pairing two strollers together. ‘You’re Driving Me Mad’ is originally an ‘A’ side from 1958, while ‘Beachcomber’, a slightly slower stroll tempo, was an ‘A’ side from a year later.
Both are sure fire dancefloor corkers
Mark Lee Allen & Bloodshot Bill – 45rpm review
Mark Lee Allen is responsible for writing both tracks on this new Lake Creek Records 45, where he’s joined by one-man band Bloodshot Bill. Simply because it was listed first, I’ll take ‘Bittersweet’ as the ‘A’ side. It’s musically raw and vocally sinister, set to a mid-tempo bop, having a bit of the man in black about it. Loving the tone of the lead guitar on this one.
On the other side, it’s ‘Devastation’, which is a mean and moody track that conjures up the movie cowboy, desert and lone rider ambience. Great use of echo and reverb, on a restrained but still powerful delivery. Excellent stuff.
Mark Lee Allen is responsible for writing both tracks on this new Lake Creek Records 45, where he’s joined by one-man band Bloodshot Bill. Simply because it was listed first, I’ll take ‘Bittersweet’ as the ‘A’ side. It’s musically raw and vocally sinister, set to a mid-tempo bop, having a bit of the man in black about it. Loving the tone of the lead guitar on this one.
On the other side, it’s ‘Devastation’, which is a mean and moody track that conjures up the movie cowboy, desert and lone rider ambience. Great use of echo and reverb, on a restrained but still powerful delivery. Excellent stuff.
Pat Cupp – Reissue 45rpm
Here are a couple of absolute Rockabilly monster bopping tracks, by Pat Cupp and the Flying Saucers on an Ace Records reissue. If you were around in the late 70’s and early 80’s these two would have been the soundtrack to your youth.
There are two versions of ‘Long Gone Daddy’, and R&B version and this Rockabilly bopper. The stop-start style made it a floor filler from the start. On the flip, the pacey and punchy ‘I Guess It’s Meant That Way’, heavy on the slap bass, and a rollickingly good guitar break.
Originally issued in 1963, this reissue is a must have, as it’s a slice of Rockabilly wonderment.
Here are a couple of absolute Rockabilly monster bopping tracks, by Pat Cupp and the Flying Saucers on an Ace Records reissue. If you were around in the late 70’s and early 80’s these two would have been the soundtrack to your youth.
There are two versions of ‘Long Gone Daddy’, and R&B version and this Rockabilly bopper. The stop-start style made it a floor filler from the start. On the flip, the pacey and punchy ‘I Guess It’s Meant That Way’, heavy on the slap bass, and a rollickingly good guitar break.
Originally issued in 1963, this reissue is a must have, as it’s a slice of Rockabilly wonderment.
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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. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it.
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, The Jets, 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, we'd prefer people to visit our site. 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, although adults are welcome to read it. Keep up to date with us here, or on our various platforms:-
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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. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it.
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, The Jets, 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, we'd prefer people to visit our site. 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, although adults are welcome to read it. 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