the bettajive review magazine #15
Welcome to our 15th issue. Our big interview this month is with Mons Wheeler (pictured above). However before we get going, here's the latest on our current situation in the UK
Covid-19 announcement
Once again following the Prime Minister's announcement on the evening of the 4th January 2021. We are currently living through times that many have had no experience of before, allowing for my mum saying ‘during the war…..’. The Coronavirus Covid-19, has taken over everyone’s lives, restrictions on movements and gatherings, and the UK where we are based, is now in a further national lockdown
To our friends all over the world, many of whom we have been in direct contact with over the internet, we wish you well and hope that you and your families are well, and your countries continue to heal
As for the Bettajive Review magazine, we will keep going, and are pleased to present this month’s our 15th, magazine for you all. This is not, as one rather churlish comment recently suggested it would be, ‘cobbled together’. Missing are gig reviews, naturally. The last one we went to was the Hicksville Bombers in Grimsby in September 2020, just before the dung hit the propeller (yet) again, it seems a lifetime ago
Yes there have been a continuation of online gigs and DJ sessions, but across the board, several events in 2021 have already been cancelled or postponed. So when you see adverts for events below, these are the ones that are currently still ‘on’. Please note:- We accept no responsibility for any that are postponed or cancelled, please check with organisers and listings.
The gig economy has been hit hard by Covid-19. So check out the bands and labels highlighted here and purchase their merchandise, records CDs downloads, or whatever you can. To produce this magazine, for free to you to read, we rely on advertisers and donations. So if you like what you read and see here, pop us a donation over by using the button please (a tip jar if you will). Many thanks, let’s keep going, we can’t stop the storm, but the storm will pass..............sometime
Covid-19 announcement
Once again following the Prime Minister's announcement on the evening of the 4th January 2021. We are currently living through times that many have had no experience of before, allowing for my mum saying ‘during the war…..’. The Coronavirus Covid-19, has taken over everyone’s lives, restrictions on movements and gatherings, and the UK where we are based, is now in a further national lockdown
To our friends all over the world, many of whom we have been in direct contact with over the internet, we wish you well and hope that you and your families are well, and your countries continue to heal
As for the Bettajive Review magazine, we will keep going, and are pleased to present this month’s our 15th, magazine for you all. This is not, as one rather churlish comment recently suggested it would be, ‘cobbled together’. Missing are gig reviews, naturally. The last one we went to was the Hicksville Bombers in Grimsby in September 2020, just before the dung hit the propeller (yet) again, it seems a lifetime ago
Yes there have been a continuation of online gigs and DJ sessions, but across the board, several events in 2021 have already been cancelled or postponed. So when you see adverts for events below, these are the ones that are currently still ‘on’. Please note:- We accept no responsibility for any that are postponed or cancelled, please check with organisers and listings.
The gig economy has been hit hard by Covid-19. So check out the bands and labels highlighted here and purchase their merchandise, records CDs downloads, or whatever you can. To produce this magazine, for free to you to read, we rely on advertisers and donations. So if you like what you read and see here, pop us a donation over by using the button please (a tip jar if you will). Many thanks, let’s keep going, we can’t stop the storm, but the storm will pass..............sometime
The Bettajive Review
Celebrate. Maybe 2021 will have a lot of us having cause to celebrate just getting through the Covid-19 crisis, after this latest set of measures. As I finish this article, we are entering another total lockdown. However, as a lot of us hurtle toward varying milestone birthdays, so there are likely to be a number of rock n roll celebratory parties to commemorate them. It’s the same with weddings, people taking the matrimonial plunge with their rockin’ mates around them. Thinking about it though readers, under normal circumstances, some of you probably see more of your mates on the gig circuit week on week, than you do your own family! So, when the rock n roller organises a party, it’s with a certain amount of relish that you can observe the family and assorted relatives coming in, and how they react.
We’ve been to some absolute corkers over the years. Some people have said, that they’ve told their relatives or work colleagues, the party will be almost exclusively fifties music, which is met by such crashing understatements as ‘Oh, that’ll be nice’. Nice?? Nice!! Those rectangular sugar-coated coconut flavoured biscuits are nice (and of course, others are available), but a rockin’ party can rarely be called, ‘nice’!
You often get the misguided berk, who decides he’ll get a fancy dress costume and a sodding great quiff wig, to make a dramatic entrance to the do. Oh, how would he feel if the hall doors closed behind him and suddenly there’s a Spaghetti Western style silence, tumbleweed rolling by followed by the sad trombone ‘wah wah wahhhhhh’.
Lots of these functions have food, buffet style, you remember those readers, all crowding around a table picking over the food. The mythical starting pistol is the announcement by the DJ that the buffet is ‘OPEN’!. Some of the revellers leave skid marks! It’s just like a scene from ‘Spy on the Wildebeest’ as they stampede across the dancefloor sweeping all before them, eventually concertina-ing around the food like wasps round a candy floss. Why does a ‘nan’ do this, get to the front like a ninja, then take one small triangle sandwich, a mini sausage roll and a lettuce leaf, and insist that it’s ‘not all mine’??
Celebrate. Maybe 2021 will have a lot of us having cause to celebrate just getting through the Covid-19 crisis, after this latest set of measures. As I finish this article, we are entering another total lockdown. However, as a lot of us hurtle toward varying milestone birthdays, so there are likely to be a number of rock n roll celebratory parties to commemorate them. It’s the same with weddings, people taking the matrimonial plunge with their rockin’ mates around them. Thinking about it though readers, under normal circumstances, some of you probably see more of your mates on the gig circuit week on week, than you do your own family! So, when the rock n roller organises a party, it’s with a certain amount of relish that you can observe the family and assorted relatives coming in, and how they react.
We’ve been to some absolute corkers over the years. Some people have said, that they’ve told their relatives or work colleagues, the party will be almost exclusively fifties music, which is met by such crashing understatements as ‘Oh, that’ll be nice’. Nice?? Nice!! Those rectangular sugar-coated coconut flavoured biscuits are nice (and of course, others are available), but a rockin’ party can rarely be called, ‘nice’!
You often get the misguided berk, who decides he’ll get a fancy dress costume and a sodding great quiff wig, to make a dramatic entrance to the do. Oh, how would he feel if the hall doors closed behind him and suddenly there’s a Spaghetti Western style silence, tumbleweed rolling by followed by the sad trombone ‘wah wah wahhhhhh’.
Lots of these functions have food, buffet style, you remember those readers, all crowding around a table picking over the food. The mythical starting pistol is the announcement by the DJ that the buffet is ‘OPEN’!. Some of the revellers leave skid marks! It’s just like a scene from ‘Spy on the Wildebeest’ as they stampede across the dancefloor sweeping all before them, eventually concertina-ing around the food like wasps round a candy floss. Why does a ‘nan’ do this, get to the front like a ninja, then take one small triangle sandwich, a mini sausage roll and a lettuce leaf, and insist that it’s ‘not all mine’??
I once stood in, what can loosely be described as a queue, so squashed you couldn’t get a credit card between me and the guy in front exacerbated by a more than ample, pie connoisseur, female behind me. As her considerable voluptuousness put more pressure on my shoulder blades, another fellow approaches from my left crab style holding a beer aloft like the Olympic torch. ‘Can I squeeze through there mate?’ he says. ‘I doubt it very much’ I managed to wheeze out as the veins stick out on my forehead and my face turns purple!
Still at those types of celebrations, everyone’s invited and has a share in the foody booty. How about those club nights you go to and the birthday boy has a long, reserved table with ‘Ted’s 60th’, banners and blow-ticklers all over it. The DJ makes the announcement that the food for Ted’s guests is now ready, that’s just Ted’s guests, not you, or you, Ted’s guests, are you one of Ted’s guests? Then not you, which basically reads as ‘paws off the rest of you gannets’. So, when Ted’s gluttonous gargoyles have taken their snouts out the trough, they have the sauce to say ‘If anyone else wants anything to eat now, you can help yourselves…’. Yeah right, how dare you, what do you think I am, like I’d have your sloppy seconds…….Oh go on then, give us a plate
So, the rockin’ music plays at the party, jivers are out in numbers all over the floor. The ‘normals’ look agog. ‘I never knew uncle/auntie/brother/sister/cousin could dance like that’. There’s something about the music, that I’m not sure exists with many other genres. Sure, you play a thumping hoe-down and everyone bobs about with their arms folded out in front of them, the floor comes alive to House of Pain’s ‘Jump Around’, however Rock n Roll music really does, and always has, got them out there.
Aunts, relatives and cousins do the shoulder lift dance offset by shifting weight from one foot to the other. Young kids throw exaggerated shapes to boppers, and rather inebriated Uni students somehow manage to take up all the floor with some alarming convulsive contortions. And there is much rejoicing, particularly if ‘Shake Rattle & Roll’, Rock Around the Clock’ or ‘Hound Dog’ comes on.
Flip that though, what’s it like being into what we are, and at a ‘normal’ wedding or birthday celebration? Well, if you haven’t been in that position (yet), be warned, it can be purgatory. For some reason, as soon as any music starts, they say ‘Oh you can dance, can’t you?’ and expect you to do ‘Superman’, ‘Oops Upside Your Head’, ‘Hi Ho Silver Lining’, ‘The Macarena’, ‘Superman’, the bloody ‘Birdie Song’ or Aga-bloody-Doo. B*gg*r off! Oh, they only like Rock n Roll, ask the DJ to put something they can dance to, oh great, it’s the ‘Wad and ‘A Little Bit of Soap’ (‘Mummy, why is Andrew hitting his head on the fire exit door’)
At this juncture, my brain has usually gone to sleep, then suddenly the opening bars can be heard, the heads of the room turn and the floor clears as Jive Bunny’s ‘Swing The Mood’ comes on. Lawd ha’ mercy! As, the colour drains from our faces, and without the excuse of alcohol, I kind of get the feeling of how the gen-pop might feel at our gigs. As I run fast and far, never looking over my shoulder.
Still, there’s always the buffet, get out of the way ‘nan’, the lettuce is all mine!!
Still at those types of celebrations, everyone’s invited and has a share in the foody booty. How about those club nights you go to and the birthday boy has a long, reserved table with ‘Ted’s 60th’, banners and blow-ticklers all over it. The DJ makes the announcement that the food for Ted’s guests is now ready, that’s just Ted’s guests, not you, or you, Ted’s guests, are you one of Ted’s guests? Then not you, which basically reads as ‘paws off the rest of you gannets’. So, when Ted’s gluttonous gargoyles have taken their snouts out the trough, they have the sauce to say ‘If anyone else wants anything to eat now, you can help yourselves…’. Yeah right, how dare you, what do you think I am, like I’d have your sloppy seconds…….Oh go on then, give us a plate
So, the rockin’ music plays at the party, jivers are out in numbers all over the floor. The ‘normals’ look agog. ‘I never knew uncle/auntie/brother/sister/cousin could dance like that’. There’s something about the music, that I’m not sure exists with many other genres. Sure, you play a thumping hoe-down and everyone bobs about with their arms folded out in front of them, the floor comes alive to House of Pain’s ‘Jump Around’, however Rock n Roll music really does, and always has, got them out there.
Aunts, relatives and cousins do the shoulder lift dance offset by shifting weight from one foot to the other. Young kids throw exaggerated shapes to boppers, and rather inebriated Uni students somehow manage to take up all the floor with some alarming convulsive contortions. And there is much rejoicing, particularly if ‘Shake Rattle & Roll’, Rock Around the Clock’ or ‘Hound Dog’ comes on.
Flip that though, what’s it like being into what we are, and at a ‘normal’ wedding or birthday celebration? Well, if you haven’t been in that position (yet), be warned, it can be purgatory. For some reason, as soon as any music starts, they say ‘Oh you can dance, can’t you?’ and expect you to do ‘Superman’, ‘Oops Upside Your Head’, ‘Hi Ho Silver Lining’, ‘The Macarena’, ‘Superman’, the bloody ‘Birdie Song’ or Aga-bloody-Doo. B*gg*r off! Oh, they only like Rock n Roll, ask the DJ to put something they can dance to, oh great, it’s the ‘Wad and ‘A Little Bit of Soap’ (‘Mummy, why is Andrew hitting his head on the fire exit door’)
At this juncture, my brain has usually gone to sleep, then suddenly the opening bars can be heard, the heads of the room turn and the floor clears as Jive Bunny’s ‘Swing The Mood’ comes on. Lawd ha’ mercy! As, the colour drains from our faces, and without the excuse of alcohol, I kind of get the feeling of how the gen-pop might feel at our gigs. As I run fast and far, never looking over my shoulder.
Still, there’s always the buffet, get out of the way ‘nan’, the lettuce is all mine!!
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Dot….dot. Best tracks in the world ever ever to stick a syringe in your shoulder to are The Cheers’ ‘Whadya Want’, Carl Smith’s ‘Go Boy Go’, and ‘Hearts Made of Stone’ by the Fontaine Sisters…….So many Elvis documentaries on over the various Freeview channels recently, but can you believe one got his date of birth wrong?....... We’re sure we heard Wanda Jackson’s ‘Whirlpool’ in a TV ad the other day…….
Behind the times. As you know, we ‘do’ words, but this year in particular I think we, being of a certain vintage, have been left behind in some senses. Some words we used, now have a completely different meaning to what we used them for. Here are a few, and as usual, a Bettajive Review disclaimer, don’t take them too seriously…..
Snowflake:- There was me thinking that a snowflake is a single ice crystal that has achieved a sufficient size, and may have amalgamated with others, falling to the ground as snow, and something to be caught on the tongue in winter. Apparently, it’s now a derisory term, who knew? Obviously not us.
Woke:- Once was only what happened at night to me being asleep when the wind blew the bins over
Gammon:- This is now a politically motivated insult apparently. For us, it was something you had as a treat when you went to a Berni or Beefeater Inn on your birthday. It was a porcine meat served with chips, peas and pineapple, although opinion differs at the Bettajive Review, I’m of the pineapple persuasion and June insists it should be an egg accompaniment. And you think you know someone *shakes head slowly* 😊
Covidiot:- Someone that breaks Government Coronavirus guidelines, not a foolish person from Coventry
Corona:- Used to be a carbonated soft drink delivered to your door, where every bubble had passed it’s fizzical.
Coronavirus:- The disease you could’ve got by drinking out of the same bottle as someone else, if you didn’t wipe the bottle top with the palm of your hand. I trust the irony isn’t wasted in that statement……
Furlough:- The groove made by a tractor pulling a plough?
Whitty:- The Bettajive Review……
Vallance:- Used to be the decorative drapery around a bed
Jonathan Van Tam:- Does he still do martial arts films?
Nightingale:- A bird in Berkley Square
Key Worker:- The bloke in bib and braces, flat cap and smoking a roll-up who had turned up near the end of a gig and turfed everyone out while jangling a bunch of keys
Zoom:- Recalled as a long lamented lost, three flavoured ice lolly, blackberry, banana and raspberry, shaped like a rocket, not the pixelly visual computer annoyance as it is today
Tranche:- Something you plant celery in?
Behind the times. As you know, we ‘do’ words, but this year in particular I think we, being of a certain vintage, have been left behind in some senses. Some words we used, now have a completely different meaning to what we used them for. Here are a few, and as usual, a Bettajive Review disclaimer, don’t take them too seriously…..
Snowflake:- There was me thinking that a snowflake is a single ice crystal that has achieved a sufficient size, and may have amalgamated with others, falling to the ground as snow, and something to be caught on the tongue in winter. Apparently, it’s now a derisory term, who knew? Obviously not us.
Woke:- Once was only what happened at night to me being asleep when the wind blew the bins over
Gammon:- This is now a politically motivated insult apparently. For us, it was something you had as a treat when you went to a Berni or Beefeater Inn on your birthday. It was a porcine meat served with chips, peas and pineapple, although opinion differs at the Bettajive Review, I’m of the pineapple persuasion and June insists it should be an egg accompaniment. And you think you know someone *shakes head slowly* 😊
Covidiot:- Someone that breaks Government Coronavirus guidelines, not a foolish person from Coventry
Corona:- Used to be a carbonated soft drink delivered to your door, where every bubble had passed it’s fizzical.
Coronavirus:- The disease you could’ve got by drinking out of the same bottle as someone else, if you didn’t wipe the bottle top with the palm of your hand. I trust the irony isn’t wasted in that statement……
Furlough:- The groove made by a tractor pulling a plough?
Whitty:- The Bettajive Review……
Vallance:- Used to be the decorative drapery around a bed
Jonathan Van Tam:- Does he still do martial arts films?
Nightingale:- A bird in Berkley Square
Key Worker:- The bloke in bib and braces, flat cap and smoking a roll-up who had turned up near the end of a gig and turfed everyone out while jangling a bunch of keys
Zoom:- Recalled as a long lamented lost, three flavoured ice lolly, blackberry, banana and raspberry, shaped like a rocket, not the pixelly visual computer annoyance as it is today
Tranche:- Something you plant celery in?
Domino's next gig, click the poster for details
Literally 24-7. The DJ sets continue to be a source of enjoyment, and indeed the pivotal points where ‘lots’ have formed. You remember ‘lots’, the Essex ‘lot’ the London ‘lot’ etc. When we used to go to a club and see the familiar people each month, they became a ‘lot’.
In lockdown there’s the Cactus lot, which increases each week it seems, along with their cacti themed T-shirts. We tend to have these DJ sets on, although keeping in the background as, in one case, a DJ show drew nearly 900 comments in a two-hour set, and I can’t keep up! Hopefully we won’t miss anyone out that we did catch in the list below.
There’s DJ Wildgoner in Germany, rocking up a storm, Robin Summerfield in his various guises in the Midlands, Rockin Roland’s themed evenings (the outfit for NYE was quite something) in Norfolk. Cat Talk Lee on Thursday evenings, he’s been consistent on Thursdays since this all got started in the spring of ’20. Similarly, Thee Vanessa Holmes Show, I think I’m right in saying, has been on every Saturday night since lockdown started, with the catchphrase ‘Back, back, back’ also now immortalised on a T-shirt. Wouldn’t it be ironic if it was on the front 😊
Germany’s Rob Popp and Double Trouble kicked some serious butt, and Nigel ‘Domino’ Babb’s Lockdown DJ Jamboree provided excellent entertainment including Simon Flintstone from Wales (also on Sundays with his own show), Steve Stack of Wax, 50’s Tash, Dave Mumbles, with Little Carl in Herts and El Nova in the USA topping the night off. Look out for the Lockdown Rockin Weekender events as well, a myriad of different DJs with different styles and playlists.
In lockdown there’s the Cactus lot, which increases each week it seems, along with their cacti themed T-shirts. We tend to have these DJ sets on, although keeping in the background as, in one case, a DJ show drew nearly 900 comments in a two-hour set, and I can’t keep up! Hopefully we won’t miss anyone out that we did catch in the list below.
There’s DJ Wildgoner in Germany, rocking up a storm, Robin Summerfield in his various guises in the Midlands, Rockin Roland’s themed evenings (the outfit for NYE was quite something) in Norfolk. Cat Talk Lee on Thursday evenings, he’s been consistent on Thursdays since this all got started in the spring of ’20. Similarly, Thee Vanessa Holmes Show, I think I’m right in saying, has been on every Saturday night since lockdown started, with the catchphrase ‘Back, back, back’ also now immortalised on a T-shirt. Wouldn’t it be ironic if it was on the front 😊
Germany’s Rob Popp and Double Trouble kicked some serious butt, and Nigel ‘Domino’ Babb’s Lockdown DJ Jamboree provided excellent entertainment including Simon Flintstone from Wales (also on Sundays with his own show), Steve Stack of Wax, 50’s Tash, Dave Mumbles, with Little Carl in Herts and El Nova in the USA topping the night off. Look out for the Lockdown Rockin Weekender events as well, a myriad of different DJs with different styles and playlists.
But I guess the prize for the most dedicated recently has to go to Danny Brown who performed a mahoosive 24 hour session for charity recently. I don’t know how many times he had to stop and start again.
The hope was to get through the event by not repeating a single track and the word is that he got that done. Anyone wishing to donate to his charities, can check out his Facebook profile for details
The hope was to get through the event by not repeating a single track and the word is that he got that done. Anyone wishing to donate to his charities, can check out his Facebook profile for details
New for 2021
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Click on the flyers for details
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interview with mons wheeler
Interview with Mons Wheeler
Singer and musician from Northern Ireland, Mons Wheeler, was one of those acts that for us, suddenly appeared at weekender events and made an immediate impact. His voice, versatility and the variety of material he played, is pretty much the complete package. So we wanted to bring you this interview at a suitable social distance (ie he’s in NI and we are in England). Images not supplied by ourselves, have been supplied by the interviewee for use with this article
BJR. First things first, tell our readers, who is Mons Wheeler, and whereabouts in Ireland do you live?
MW. I’m a regular, working class man who has a passion for singing and music. I’m from a place called Craigavon (also known as The Lost City – there’s a documentary about it on youtube – you should give it a look), in Co,Armagh in the north of Ireland.
BJR. What was your introduction to music and specifically to 50’s style Rockabilly/Rock ‘n’ Roll?
MW. I think, like most people, my introduction to music came from my parents; my father is a great singer and yodeller and has a great passion for music and so there was always music playing in our house when I was growing up. Country music was always the go to genre, and so the neighbours were always treated to (whether they liked it or not) the sounds of Slim Whitman, Marty Robbins, Johnny Cash, Hank Williams, Frank Ifield, Ireland’s own Brian Coll as well as rockabilly/rock’n;’roll artists like Roy Orbison, Johnny Cash, Jerry Lee Lewis etc. Traditional Irish music was also a staple, so the Dubliners/ Luke Kelly and the great Irish Tenor Josef Locke were on regular rotation on our family’s turntable. So there wasn’t an introduction, as such, to music, it was just always there. My love of 50’s music came in part from my father’s love of that era of music and also, being a child of the 80s, I was a big fan of Shakin’ Stevens and hits like ‘Green door’, ‘This old house’ ‘It’s late’. I was particularly taken with the series of Levis jeans ads that were being shown at the time which were based solely in 1950s Americana, and had a soundtrack that included Sam Cooke, the Ronettes, Ben E King, Percy Sledge to mention but a few; these adverts had a profound effect on me as a child (especially the ‘Stand by me’one) – the music, the way it sounded and mesmerised me and seemed so dreamlike, the clothes, style, cars, pretty women and hairstyles, so from the age of seven I decided that when I grew up I wanted a pompadour hairstyle, a cool suit and car and to sing the kind of music that made me feel the way I did when I watched those adverts and escaped into that world for just little while.
BJR. Did you take guitar lessons or are you self-taught?
MW. I’m self-taught, and from the viewpoint of anyone who plays guitar that’s very apparent! Playing guitar was always a bit of a means to an end for me; I just wanted to be able to back myself singing. My aunties and uncle all play so they’d show me the odd thing here and there but I took matters into my own hands and bought a book that was aptly titled ‘Play all the songs in this book with these three chords – G, C, D’ – if ever there was a title that is straight, to the point and no explanation needed, it’s surely that one! Although it did exactly what it said on the tin, so I sat for night after night and went through that book (and all the pain and frustration that went with it) until I got the hang of chord changes, strumming patterns and whatnot, but within a short period of time I could do what I had set out to do – I could back myself singing; my next goal was to then master the art of looking cool whilst doing just that. I’m still working on that one…..
BJR. Do you recall the first time you sang in public, and what song(s) you did?
MW I was 4 years old and sitting in class one day when I decided to sing, as was my want at the time, so feeling an undeniable compulsion to do so I erupted with song in the form of Frank Ifield’s ‘I remember you’ (ironic, given the question). Normally, the teacher would have chastised me for the disruption, but she was impressed with my ability at a young age to sing in pitch and to be able to make the transition from falsetto to full voice, so she asked me to sing it again, and then took me on a little tour of the rest of the teacher’s classrooms to sing for them and I was paid in sweets, coins, crisps or whatever they had, and thus, my singing career had begun….
Singer and musician from Northern Ireland, Mons Wheeler, was one of those acts that for us, suddenly appeared at weekender events and made an immediate impact. His voice, versatility and the variety of material he played, is pretty much the complete package. So we wanted to bring you this interview at a suitable social distance (ie he’s in NI and we are in England). Images not supplied by ourselves, have been supplied by the interviewee for use with this article
BJR. First things first, tell our readers, who is Mons Wheeler, and whereabouts in Ireland do you live?
MW. I’m a regular, working class man who has a passion for singing and music. I’m from a place called Craigavon (also known as The Lost City – there’s a documentary about it on youtube – you should give it a look), in Co,Armagh in the north of Ireland.
BJR. What was your introduction to music and specifically to 50’s style Rockabilly/Rock ‘n’ Roll?
MW. I think, like most people, my introduction to music came from my parents; my father is a great singer and yodeller and has a great passion for music and so there was always music playing in our house when I was growing up. Country music was always the go to genre, and so the neighbours were always treated to (whether they liked it or not) the sounds of Slim Whitman, Marty Robbins, Johnny Cash, Hank Williams, Frank Ifield, Ireland’s own Brian Coll as well as rockabilly/rock’n;’roll artists like Roy Orbison, Johnny Cash, Jerry Lee Lewis etc. Traditional Irish music was also a staple, so the Dubliners/ Luke Kelly and the great Irish Tenor Josef Locke were on regular rotation on our family’s turntable. So there wasn’t an introduction, as such, to music, it was just always there. My love of 50’s music came in part from my father’s love of that era of music and also, being a child of the 80s, I was a big fan of Shakin’ Stevens and hits like ‘Green door’, ‘This old house’ ‘It’s late’. I was particularly taken with the series of Levis jeans ads that were being shown at the time which were based solely in 1950s Americana, and had a soundtrack that included Sam Cooke, the Ronettes, Ben E King, Percy Sledge to mention but a few; these adverts had a profound effect on me as a child (especially the ‘Stand by me’one) – the music, the way it sounded and mesmerised me and seemed so dreamlike, the clothes, style, cars, pretty women and hairstyles, so from the age of seven I decided that when I grew up I wanted a pompadour hairstyle, a cool suit and car and to sing the kind of music that made me feel the way I did when I watched those adverts and escaped into that world for just little while.
BJR. Did you take guitar lessons or are you self-taught?
MW. I’m self-taught, and from the viewpoint of anyone who plays guitar that’s very apparent! Playing guitar was always a bit of a means to an end for me; I just wanted to be able to back myself singing. My aunties and uncle all play so they’d show me the odd thing here and there but I took matters into my own hands and bought a book that was aptly titled ‘Play all the songs in this book with these three chords – G, C, D’ – if ever there was a title that is straight, to the point and no explanation needed, it’s surely that one! Although it did exactly what it said on the tin, so I sat for night after night and went through that book (and all the pain and frustration that went with it) until I got the hang of chord changes, strumming patterns and whatnot, but within a short period of time I could do what I had set out to do – I could back myself singing; my next goal was to then master the art of looking cool whilst doing just that. I’m still working on that one…..
BJR. Do you recall the first time you sang in public, and what song(s) you did?
MW I was 4 years old and sitting in class one day when I decided to sing, as was my want at the time, so feeling an undeniable compulsion to do so I erupted with song in the form of Frank Ifield’s ‘I remember you’ (ironic, given the question). Normally, the teacher would have chastised me for the disruption, but she was impressed with my ability at a young age to sing in pitch and to be able to make the transition from falsetto to full voice, so she asked me to sing it again, and then took me on a little tour of the rest of the teacher’s classrooms to sing for them and I was paid in sweets, coins, crisps or whatever they had, and thus, my singing career had begun….
BJR. Who are the artists, today’s and past, that influence and inspire you?
MW I have such an eclectic taste in music that my influences vary somewhat, but variety is the spice of life and all that, so with that in mind I would site some of my influences as: Roy Orbison, Chris Isaak, Marty Robbins, Slim Whitman, Bruce Springsteen, R.E.M., The Rolling Stones, Johnny Cash, Social Distortion, George Jones, Mearle Haggard, Simon and Garfunkle, Rory Gallagher, Luke Kelly, Joan Jett, AC/DC, Sturgil Simpson, Queen, The Ramones, The Dubliners, Del Shannon, Hank Williams, Jimmie Rogers, Status Quo, The Pixies, Metallica, Stevie Ray Vaughan, Sam Cooke, Little Richard, The Fabulous Thunderbirds, The Everly brothers, T Rex – I could go on and on, but I think you get the point. I’m sure there’s a few obvious ones in there as well as a few surprises.
BJR. Most memorable show you’ve performed?
MW I play a festival every year in a place called Dunmore East in Co. Waterford and it is always one of my favourite festivals to play. I have been playing that festival for the last 18 years and so I’ve got to know and befriend a lot of the people who live there or who attend the festival every year, so I have many great memorable moments from Dunmore East, but one of the best gigs was last year; we were playing a Sunday afternoon slot – it’s an outdoor gig just overlooking the beach, and it’s on higher ground so you get a great view of the village. It was the most beautiful day, sun splitting the Heavens and there was already such a great vibe and people were looking forward to seeing us perform. Like I said, it was an afternoon gig so there were lots of families there and it’s always great to see children playing and dancing and enjoying the music and just enjoying being children at a gig. It’s hard to put into words just exactly what it was that made the gig so good but all the elements just came together perfectly; the weather and scenery were beautiful, the vibe and atmosphere was so positive, so welcoming and so inclusive of everyone, the boys in the band were on top form, the set was flowing, the songs were just excellently executed by the band, there were some impromptu songs that were just thrown in on the spare of the moment and the audience loved the spontaneity of the gig, as did we – I could’ve dropped my guitar down a flight of steps and it would’ve landed on the correct chords. We were asked to play on after our allotted time and were happy to do so (and were paid well for it, I have to add) so our 2+ hour gig turned into a Springsteenesque 4+ hour gig, but it never ran out of steam or momentum and came to a natural end. It was so good to be among everyone and to share a stage with great musicians/friends and enjoy a cold beer between songs in such a beautiful setting – and we were all feeling it. It’s made all the more poignant now by recent events and the fact that we can’t interact in the same way anymore and that day we were all truly living in the moment and although none of us could have foreseen this, I remember taking a moment to take it all in and to appreciate it all, say a little prayer of thanks, and to remind myself not to take it for granted (I’m so glad I did). As much as I enjoyed that gig at the time, in hindsight it seems so much more Heaven sent than I had originally gave it credit, and it’s certainly a happy memory that I, the boys in the band and hopefully the audience will take with them as we all hasten towards the advent of live music again with a new sense of appreciation for what we all temporarily lost.
BJR. You’re from Northern Ireland, your band, The Tone Kings are from Scotland. Tell us how that collaboration came about.
MW I’ve known and been good friends with guitarist Martin Barrett for nearly 20 years. We met through a mutual friend (and the bass player for my main band) who asked Martin to come over to Ireland to play the festival I previously mentioned with us in a Honky Tonk/rockabilly act called ‘The Mean eyed cats’. We really hit it off and have been good friends ever since. Martin used to come over here to Ireland to play various gigs with us and I had expressed an interest in playing some gigs with him on the Scottish rockin’ scene, so the opportunity presented itself and I went over to play some gigs with Martin, David Cameron (drums) and Alan McCubbin (Bass) who were essentially the Frettones. We all got on so well together and were just taking gigs for the craic, to use my vernacular, or for the fun of playing music and socialising, to use yours. In the midst of this we caught the attention of Jerry Chatabox who decided to take a chance and booked us to play the Rockabilly Rave, so we had to smarten up and pick a name, so I came up with the Tone Kings – primarily because it sounded like Roy Orbison’s band ‘The Teen Kings’ – that’s the first time I’ve admitted that publically; and let’s face it, none of the four of us were ever going to convince anyone that we were teen kings or teen anything else for that matter.
MW I have such an eclectic taste in music that my influences vary somewhat, but variety is the spice of life and all that, so with that in mind I would site some of my influences as: Roy Orbison, Chris Isaak, Marty Robbins, Slim Whitman, Bruce Springsteen, R.E.M., The Rolling Stones, Johnny Cash, Social Distortion, George Jones, Mearle Haggard, Simon and Garfunkle, Rory Gallagher, Luke Kelly, Joan Jett, AC/DC, Sturgil Simpson, Queen, The Ramones, The Dubliners, Del Shannon, Hank Williams, Jimmie Rogers, Status Quo, The Pixies, Metallica, Stevie Ray Vaughan, Sam Cooke, Little Richard, The Fabulous Thunderbirds, The Everly brothers, T Rex – I could go on and on, but I think you get the point. I’m sure there’s a few obvious ones in there as well as a few surprises.
BJR. Most memorable show you’ve performed?
MW I play a festival every year in a place called Dunmore East in Co. Waterford and it is always one of my favourite festivals to play. I have been playing that festival for the last 18 years and so I’ve got to know and befriend a lot of the people who live there or who attend the festival every year, so I have many great memorable moments from Dunmore East, but one of the best gigs was last year; we were playing a Sunday afternoon slot – it’s an outdoor gig just overlooking the beach, and it’s on higher ground so you get a great view of the village. It was the most beautiful day, sun splitting the Heavens and there was already such a great vibe and people were looking forward to seeing us perform. Like I said, it was an afternoon gig so there were lots of families there and it’s always great to see children playing and dancing and enjoying the music and just enjoying being children at a gig. It’s hard to put into words just exactly what it was that made the gig so good but all the elements just came together perfectly; the weather and scenery were beautiful, the vibe and atmosphere was so positive, so welcoming and so inclusive of everyone, the boys in the band were on top form, the set was flowing, the songs were just excellently executed by the band, there were some impromptu songs that were just thrown in on the spare of the moment and the audience loved the spontaneity of the gig, as did we – I could’ve dropped my guitar down a flight of steps and it would’ve landed on the correct chords. We were asked to play on after our allotted time and were happy to do so (and were paid well for it, I have to add) so our 2+ hour gig turned into a Springsteenesque 4+ hour gig, but it never ran out of steam or momentum and came to a natural end. It was so good to be among everyone and to share a stage with great musicians/friends and enjoy a cold beer between songs in such a beautiful setting – and we were all feeling it. It’s made all the more poignant now by recent events and the fact that we can’t interact in the same way anymore and that day we were all truly living in the moment and although none of us could have foreseen this, I remember taking a moment to take it all in and to appreciate it all, say a little prayer of thanks, and to remind myself not to take it for granted (I’m so glad I did). As much as I enjoyed that gig at the time, in hindsight it seems so much more Heaven sent than I had originally gave it credit, and it’s certainly a happy memory that I, the boys in the band and hopefully the audience will take with them as we all hasten towards the advent of live music again with a new sense of appreciation for what we all temporarily lost.
BJR. You’re from Northern Ireland, your band, The Tone Kings are from Scotland. Tell us how that collaboration came about.
MW I’ve known and been good friends with guitarist Martin Barrett for nearly 20 years. We met through a mutual friend (and the bass player for my main band) who asked Martin to come over to Ireland to play the festival I previously mentioned with us in a Honky Tonk/rockabilly act called ‘The Mean eyed cats’. We really hit it off and have been good friends ever since. Martin used to come over here to Ireland to play various gigs with us and I had expressed an interest in playing some gigs with him on the Scottish rockin’ scene, so the opportunity presented itself and I went over to play some gigs with Martin, David Cameron (drums) and Alan McCubbin (Bass) who were essentially the Frettones. We all got on so well together and were just taking gigs for the craic, to use my vernacular, or for the fun of playing music and socialising, to use yours. In the midst of this we caught the attention of Jerry Chatabox who decided to take a chance and booked us to play the Rockabilly Rave, so we had to smarten up and pick a name, so I came up with the Tone Kings – primarily because it sounded like Roy Orbison’s band ‘The Teen Kings’ – that’s the first time I’ve admitted that publically; and let’s face it, none of the four of us were ever going to convince anyone that we were teen kings or teen anything else for that matter.
BJR. In the middle of your show at the Rockabilly Rave, you performed solo. The song was Tex Owen’s ‘Cattle Call’ from 1934 (for purists Pawel Walc from 1928). Your incredible vocal version, was reminiscent of that by Eddy Arnold. There was a back story to you performing that song you related at the Rave, would you like to share that with our readers
MW Thank you for saying so. The Cattle Call is a song that my father always sings and it’s a song that I grew up with and a song I used to sing on my tour of the classrooms in primary school. When I was growing up in the 80s and 90s in the North of Ireland the ‘Troubles’ as they’re known were still a very active, daily occurrence and in December 1991 our local police station was bombed; it was a 2 tonne blast and so not only did it destroy it’s intended target, it decimated a lot of the surrounding area, including my primary school. It was later known as the miracle bomb as despite the size of the blast nobody was killed or even badly injured, but the damage to our parish was devastating. Still, the powers that be rallied round and had built us a makeshift school consisting of mobile containers within weeks and as such, St. Anthony’s primary school, Craigavon had made the news. We were local celebrities and all the media outlets wanted a piece of the action, including a radio show who wanted to broadcast its programme from our ‘mobile school’. So I was nominated to sing, and the song I chose was ‘The Cattle Call’, so my father wrote out the lyrics (no Google then, folks) and practiced it with me and the next day I went in and sang it acapella and it was broadcast into homes across the length and breadth of the province and for the next week I was king of the school (until some other kid scored the winning goal at break time – children can be very fickle) and so that was my first encounter with singing across the airwaves and I was taken back to that moment when I performed the song at The Rockabilly Rave. It’s nice to be reminded of how a positive situation or experience can be born from such a negative one and I guess that’s what we Irish do, especially here in the North, we pick up the pieces and we move forward and I suppose that’s what we’re all doing globally at the moment.
BJR. Your debut single release ‘Down By The Bay’ and ‘Nothing But Pain’ on Rampage Records, were massive dancefloor hits. When you collaborated with the lads to write these songs, what were your inspirations, and did you have the dancefloor in mind?
MW These were two different types of songs for me in the sense that they were written almost exclusively with the dancefloor in mind. At that point I was still relatively new to the rockin’ scene whereas the rest of the band were seasoned pros having played in the Tennessee Hotshots and the Frettones and many other bands on the scene, so they knew exactly what beats, style, tempo etc. would work on that circuit, and fair play to them, because it was that foresight that made the single a success, so the lads really took the reins with that one and I added my own unique flair (whatever that may be) to it, so the result was we got a nice stroller and a rocker that still sounds a little different to other bands on the scene – which is what everyone strives for, so my ignorance actually paid off in this situation. I would like to add a word of thanks to all those at Rampage Records for producing the single and for being so good to work with and a big thank you to everyone who bought the single and supported us – it’s very much appreciated.
BJR. Do you have a song or songs that have to be in your live show? Ones you really enjoy performing
MW Well the song that I get the most requests for would be ‘Wicked game’ by Chris Isaak, and I’m very happy to sing it as it’s one of my favourite songs, so that’s usually a set list staple. If we’re playing a full gig I usually like to play a few songs on my own acoustically, so that gives me free range to sing whatever springs to mind at the time so I’ll always throw in a Roy Orbison song or Marty Robbins’ ‘Beggin to you’ (another one of my favourites) or sometimes I like to throw something really obscure into the mix just for the sheer fun of it. I like to end most shows with Jerry Lee’s ‘Whole lotta shakin’’- some people may think that a little contrived but it’s a party song, everyone loves it and it usually gets everyone one up for one last dance, so it’s a good way to ensure that you’re leaving the venue minus it’s roof.
BJR. As we are (at the time of writing) still in the grips of the Covid-19 crisis, what does a musician like Mons Wheeler do during so much downtime?
MW I’m very fortunate in that I have a full time job; I work with kids with special educational needs, so that keeps me busy. I‘ve always been into health and fitness and physical culture, so I spend some of my time either working out or researching different methods or theories on the subject. I also like to take walks – to go off the beaten track, literally and explore the many wonders nature has to offer us throughout the changing seasons. I have a niece and nephews that I see regularly (we’re in the same bubble I hasten to add) so I enjoy spending time with them. Outside of that I’m playing music, working on songs and practising all my best rockstar moves in front of the mirror for when we get back to playing live gigs again. I have also watched every single movie in the Schwarzenegger collection over and over to the point where it could be my chosen subject should I ever decide to go on Mastermind.
BJR. Is it too early to suggest what your future holds musically for 2021?
MW Like most people, I had hoped that things would’ve returned to some sort of normality for live music by now, but it’s becoming more apparent that it’ll be a while before that happens, so my plan for 2021 is to have a greater online presence and explore the domain of virtual gigs as although it can never replace live music, it’s our best alternative to reach and sing to people en masse, so I’ll be relaunching my facebook music and Instagram pages come the new year. I’ll be taking strides into the 21st century – just a couple of decades behind everyone else. I had also flirted with the idea of doing some kind of virtual stripping, but I figure that people’s suffered enough this tear, so I’ll maybe put that on the back burner….for now…
BJR. How can readers and promoters get in touch with you?
MW Like I said, I’ll be relaunching my social media so for now the best way to contact me at the moment is via email on [email protected]
BJR. Thank you Mons.
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MW Thank you for saying so. The Cattle Call is a song that my father always sings and it’s a song that I grew up with and a song I used to sing on my tour of the classrooms in primary school. When I was growing up in the 80s and 90s in the North of Ireland the ‘Troubles’ as they’re known were still a very active, daily occurrence and in December 1991 our local police station was bombed; it was a 2 tonne blast and so not only did it destroy it’s intended target, it decimated a lot of the surrounding area, including my primary school. It was later known as the miracle bomb as despite the size of the blast nobody was killed or even badly injured, but the damage to our parish was devastating. Still, the powers that be rallied round and had built us a makeshift school consisting of mobile containers within weeks and as such, St. Anthony’s primary school, Craigavon had made the news. We were local celebrities and all the media outlets wanted a piece of the action, including a radio show who wanted to broadcast its programme from our ‘mobile school’. So I was nominated to sing, and the song I chose was ‘The Cattle Call’, so my father wrote out the lyrics (no Google then, folks) and practiced it with me and the next day I went in and sang it acapella and it was broadcast into homes across the length and breadth of the province and for the next week I was king of the school (until some other kid scored the winning goal at break time – children can be very fickle) and so that was my first encounter with singing across the airwaves and I was taken back to that moment when I performed the song at The Rockabilly Rave. It’s nice to be reminded of how a positive situation or experience can be born from such a negative one and I guess that’s what we Irish do, especially here in the North, we pick up the pieces and we move forward and I suppose that’s what we’re all doing globally at the moment.
BJR. Your debut single release ‘Down By The Bay’ and ‘Nothing But Pain’ on Rampage Records, were massive dancefloor hits. When you collaborated with the lads to write these songs, what were your inspirations, and did you have the dancefloor in mind?
MW These were two different types of songs for me in the sense that they were written almost exclusively with the dancefloor in mind. At that point I was still relatively new to the rockin’ scene whereas the rest of the band were seasoned pros having played in the Tennessee Hotshots and the Frettones and many other bands on the scene, so they knew exactly what beats, style, tempo etc. would work on that circuit, and fair play to them, because it was that foresight that made the single a success, so the lads really took the reins with that one and I added my own unique flair (whatever that may be) to it, so the result was we got a nice stroller and a rocker that still sounds a little different to other bands on the scene – which is what everyone strives for, so my ignorance actually paid off in this situation. I would like to add a word of thanks to all those at Rampage Records for producing the single and for being so good to work with and a big thank you to everyone who bought the single and supported us – it’s very much appreciated.
BJR. Do you have a song or songs that have to be in your live show? Ones you really enjoy performing
MW Well the song that I get the most requests for would be ‘Wicked game’ by Chris Isaak, and I’m very happy to sing it as it’s one of my favourite songs, so that’s usually a set list staple. If we’re playing a full gig I usually like to play a few songs on my own acoustically, so that gives me free range to sing whatever springs to mind at the time so I’ll always throw in a Roy Orbison song or Marty Robbins’ ‘Beggin to you’ (another one of my favourites) or sometimes I like to throw something really obscure into the mix just for the sheer fun of it. I like to end most shows with Jerry Lee’s ‘Whole lotta shakin’’- some people may think that a little contrived but it’s a party song, everyone loves it and it usually gets everyone one up for one last dance, so it’s a good way to ensure that you’re leaving the venue minus it’s roof.
BJR. As we are (at the time of writing) still in the grips of the Covid-19 crisis, what does a musician like Mons Wheeler do during so much downtime?
MW I’m very fortunate in that I have a full time job; I work with kids with special educational needs, so that keeps me busy. I‘ve always been into health and fitness and physical culture, so I spend some of my time either working out or researching different methods or theories on the subject. I also like to take walks – to go off the beaten track, literally and explore the many wonders nature has to offer us throughout the changing seasons. I have a niece and nephews that I see regularly (we’re in the same bubble I hasten to add) so I enjoy spending time with them. Outside of that I’m playing music, working on songs and practising all my best rockstar moves in front of the mirror for when we get back to playing live gigs again. I have also watched every single movie in the Schwarzenegger collection over and over to the point where it could be my chosen subject should I ever decide to go on Mastermind.
BJR. Is it too early to suggest what your future holds musically for 2021?
MW Like most people, I had hoped that things would’ve returned to some sort of normality for live music by now, but it’s becoming more apparent that it’ll be a while before that happens, so my plan for 2021 is to have a greater online presence and explore the domain of virtual gigs as although it can never replace live music, it’s our best alternative to reach and sing to people en masse, so I’ll be relaunching my facebook music and Instagram pages come the new year. I’ll be taking strides into the 21st century – just a couple of decades behind everyone else. I had also flirted with the idea of doing some kind of virtual stripping, but I figure that people’s suffered enough this tear, so I’ll maybe put that on the back burner….for now…
BJR. How can readers and promoters get in touch with you?
MW Like I said, I’ll be relaunching my social media so for now the best way to contact me at the moment is via email on [email protected]
BJR. Thank you Mons.
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Rearranged date for 2021
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New date for Hemsby
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cd lp and 45rpm reviews
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These records and CDs reviewed, are available from the vendors above. Click on their images to take you to their respective sites, and check availability, prices etc.
Ramblin’ Ellie and the Bashtones – Find Another Fool
LP Review
Sometimes readers, we become aware of a new release by a band we don’t know, and then find they have been around for some time. Such is the case with Ramblin’ Ellie and the Bashtones. They were formed in 2013 and now in the ‘coming soon’ category, release this LP, ‘Find Another Fool’ on El Toro Records.
We open with a cover of Ricky Nelson’s ‘One of These Mornings’, and it’s immediately clear to the listener that they pay due reverence to the songs they’ve chosen. The vocal backing on this track is the perfect base to showcase Ellie’s lead vocals, and there’s some excellent slap bass work in the rhythm engine room. That’s followed by Little Brenda Lee’s ‘Bigelow 6200’, which was her 1956 ‘B’ side on Decca records. The vocal tone here isn’t as highly pitched as the original (was Brenda 9 years old when she recorded the original?), however this version is accomplished both vocally and musically.
Those two songs set you up for the outstanding ‘Night Without End’, originally by Bob Luman, this is country meets Rockabilly with vocal additional harmony backing. This rendition is simply outstanding from start to finish, two minutes of heaven, that, if you’re like me, you play over and over. They’ve added their own twist to the song and it works so well. The same can be applied to their version of Skeeter Davis’ ‘If I Had Wheels’ from 1966. Davis’ original had the mid-60’s sound, while the Bashtones have given it a seasoning of Rockabilly.
The Velvet Candles, a vocal group outstanding in their own right, then provide backing vocals as combined, Ellie takes on Bobby Helms’ ‘Hurry Baby’. Helms had female harmonies and lead the vocal. Naturally here, the roles are reversed, to really good effect. That combination also concludes side one, with their reworking of Barry Mann’s ‘Find Another Fool’. The use of baritone backing ‘answer’ vocals, along with harmonies, and Ellie’s lead is pure musical gold
Over on the flip side, we open up with Don Estes 1958 ‘B’ side on Columbia, ‘Moonsick’, which was written by the formidable duo Felice and Boudleaux Bryant. This is a joyous bouncing rocker of a track. The ‘Candles are back for ‘It Doesn’t Matter’ a nippy rocker with a cool sax break, while ‘Is It Me’ is a heartfelt and somewhat angsty song of wondering when a lover will come through and declare who they really want.
Now here’s one for archivists. I’m going to say a cover of Terry Nolan’s ‘Long Gone Baby’, which is also known by Buddy Britten and the Regents, both versions coming from 1962. As Terry Nolan is the writer, that’s what we will go for. Which-ever, this is a supercool version of a little heard stroller, of the ‘Worryin’ Kind’ beat. A Sun Records cover now, Dickey Lee’s ‘Dreamy Nights’, which was the ‘B’ side to ‘Fool Fool Fool’ from 1958. Here the Velvet Candles join as backing vocalists again, so you know you’re on a winner.
Topping off the release is a cover of Connie Smith’s ‘I’ll Come Running’. The original was a 1967 ‘B’ side, and like this version, it’s one of those guitar-pickin’, thigh slapping country rockers that you can’t help but love.
Country, Rockabilly, Sixties vibes, Doo Wop, all within the twelve tracks on this LP. Yes, they are versatile for sure. The variation of tracks the band have selected, and indeed the rarity of songs they chose to cover, makes this an excellent release. Pre-order yourselves a copy folks, you will not be disappointed
LP Review
Sometimes readers, we become aware of a new release by a band we don’t know, and then find they have been around for some time. Such is the case with Ramblin’ Ellie and the Bashtones. They were formed in 2013 and now in the ‘coming soon’ category, release this LP, ‘Find Another Fool’ on El Toro Records.
We open with a cover of Ricky Nelson’s ‘One of These Mornings’, and it’s immediately clear to the listener that they pay due reverence to the songs they’ve chosen. The vocal backing on this track is the perfect base to showcase Ellie’s lead vocals, and there’s some excellent slap bass work in the rhythm engine room. That’s followed by Little Brenda Lee’s ‘Bigelow 6200’, which was her 1956 ‘B’ side on Decca records. The vocal tone here isn’t as highly pitched as the original (was Brenda 9 years old when she recorded the original?), however this version is accomplished both vocally and musically.
Those two songs set you up for the outstanding ‘Night Without End’, originally by Bob Luman, this is country meets Rockabilly with vocal additional harmony backing. This rendition is simply outstanding from start to finish, two minutes of heaven, that, if you’re like me, you play over and over. They’ve added their own twist to the song and it works so well. The same can be applied to their version of Skeeter Davis’ ‘If I Had Wheels’ from 1966. Davis’ original had the mid-60’s sound, while the Bashtones have given it a seasoning of Rockabilly.
The Velvet Candles, a vocal group outstanding in their own right, then provide backing vocals as combined, Ellie takes on Bobby Helms’ ‘Hurry Baby’. Helms had female harmonies and lead the vocal. Naturally here, the roles are reversed, to really good effect. That combination also concludes side one, with their reworking of Barry Mann’s ‘Find Another Fool’. The use of baritone backing ‘answer’ vocals, along with harmonies, and Ellie’s lead is pure musical gold
Over on the flip side, we open up with Don Estes 1958 ‘B’ side on Columbia, ‘Moonsick’, which was written by the formidable duo Felice and Boudleaux Bryant. This is a joyous bouncing rocker of a track. The ‘Candles are back for ‘It Doesn’t Matter’ a nippy rocker with a cool sax break, while ‘Is It Me’ is a heartfelt and somewhat angsty song of wondering when a lover will come through and declare who they really want.
Now here’s one for archivists. I’m going to say a cover of Terry Nolan’s ‘Long Gone Baby’, which is also known by Buddy Britten and the Regents, both versions coming from 1962. As Terry Nolan is the writer, that’s what we will go for. Which-ever, this is a supercool version of a little heard stroller, of the ‘Worryin’ Kind’ beat. A Sun Records cover now, Dickey Lee’s ‘Dreamy Nights’, which was the ‘B’ side to ‘Fool Fool Fool’ from 1958. Here the Velvet Candles join as backing vocalists again, so you know you’re on a winner.
Topping off the release is a cover of Connie Smith’s ‘I’ll Come Running’. The original was a 1967 ‘B’ side, and like this version, it’s one of those guitar-pickin’, thigh slapping country rockers that you can’t help but love.
Country, Rockabilly, Sixties vibes, Doo Wop, all within the twelve tracks on this LP. Yes, they are versatile for sure. The variation of tracks the band have selected, and indeed the rarity of songs they chose to cover, makes this an excellent release. Pre-order yourselves a copy folks, you will not be disappointed
Buffalo Bop – Tootless CD review
Buffalo Bop continue with their series of high-quality Dee Jay Jamboree compilations with ‘Tootless’, a word that sends our spell checker into a screwy fit. So, will some of the tracks as well, in the nicest possible way, a case in point being ‘Nancy Lee’ by Mike Anthony, a hand clapping, sax driven rocker from 1961.
Many of you will be familiar with the thumping bass slapping sound of Ray Campi. This time he’s showcasing a bit of boogie woogie, with the piano based ‘Guadeloupe Boogie’ from a 1996 single. I drew a bit of a blank researching ‘You’re Mean To Me’ by TK Roof. The track from 1958 however is a real treat, with it’s stop-start tempo and almost lazy lilt to the vocals. Similarly, with the Big Rockers’ ‘Rock n Roll USA’, which is a take-no-prisoners rocker.
Larry O’Keefe’s ‘Hot Rockin’ Mama’ out of Texas in the early 60’s, also appeared on a 2016 repro. It was originally a ‘B’ side to ‘Rolling Stone’, both tracks together made up just over three minutes combined. ‘Mama’ has a similar opening to Roy Orbison’s ‘Domino’ incidentally.
Some smashing stroll beat next with Lenny Capello and the Dots’ ‘Cotton Candy’. This has a vocal delivery a bit like Larry Williams, from Capello, a native of Louisiana. The ‘B’ side of the single it came from incidentally is ‘Tootles’ which appears a little later on the CD. My goodness what a cracking R&B 45rpm that was. To the Hart label from Birmingham Alabama next and Phil Cay and the Bluenotes’ ‘Meet Me In The Barnyard’ from ’58, a cool sax wailing stroller rhythm on this one folks. How about ‘My Rockin’ Baby’ by Gene Watson and the Rockets, on Florida’s Tri-Dec Records in 1957, a beauty of a guitar and bass punchy tune. Gene appears later with ‘Drummer Boy Rock’, unsurprisingly featuring some serious solos on the skins.
Not sure if it’s a novelty or a tribute record, but the 3-M Machine’s ‘I’m Gonna Play The Piano’ has the tagline ‘When old Jerry Lee has gone’, set to a ‘killer’ beat. Dixie Records’ Eddie Murphy recorded ‘What Was It’ as a ‘B’ side in 1960, which has a searing guitar solo set against harmony vocals, and piano backbeat. Also, from that record label comes ‘Queen from Bowling Green’ by Art Buchannan, a well-established Rockabilly track about a young lady from the Kentucky town named in the title.
Next up, Farris Wilder and his band with a booming track ‘All Your Fault’ from 1957, which has a bit of Hillbilly meets Rockabilly about it. A real foot stomper. Larry Keith’s ‘Rattlesnake Boogie’ is a peach of a tune, rolling piano and an infectious chunking beat. There’s a seriously swinging track to follow with, it says, Billy Graddock’s ‘Smacky Mouth’. Apparently, the original pressing had spelled Billy Craddock’s name incorrectly, subsequent pressings corrected that. This track though should be remembered for it’s swinging quality though.
Charlie Carey’s ‘Little Red Wagon’ on Sultan Records (Fort Worth Texas) weighs in next, a smooth sounding jiver, followed by Morty Marker and the Impalas ‘Tear Down The House’ from 1959, which has dancefloor stamped all over it. Bonnie Fussell’s ‘Too High Class’, listed in some catalogues as Ronnie Fussell, is diamond track that you have to dig. Cracking R&B rhythm and sax accompaniment, it’s just over two minutes of heaven.
Not many introductions are needed for Link Wray, and his garage sound. Here’s a vocal track, ‘Mary Ann’ from 1960 written by Ray Charles, which retains his inimitable guitar style, and pioneering punky-garage cadence. A similar 60’s Rock n Roll sound can be found next with Danny Ray’s ‘There Never Be Nothing’, a trashy sound that really rocks. Keeping with that theme, the Interns reworking of ‘Long Tall Sally’ which begats ‘Sally Met Molly’, which also includes reference to ‘Hey Hey Hey’, from a single in 1966, gets an outing.
I’d never heard Frank Hammac’s ‘World of Pleasure’ before, from 1964, but I’m glad I did, as it’s a smashing sounding country/Rockabilly sound, and a stinging guitar break, as he sings a song of lost love. An established floor filling stroller next from the country/Rockabilly duo of country music’s Johnny Mathis and Jimmy Lee Fautheree, ‘Knock on Wood’, a superstitious novelty tune from 1961, that’s a true delight. Kangaroo Records of San Gabriel California, released a cool mid-tempo rocker ‘Gear of Love’, which is well worth a listen, as it seems pretty rare, and was written by the wonderfully named Les Kangas.
Jerry Shipman pays tribute to his ‘Rock and Roll Queen’ while the Teenettes top it all of with a wall of sound styled ‘Bye Bye Baby’.
This compilation comes with a booklet, and is choc full of rarities and curios from the vaults of some pretty obscure record labels. And the combination of the styles and tempos are a real treat
Buffalo Bop continue with their series of high-quality Dee Jay Jamboree compilations with ‘Tootless’, a word that sends our spell checker into a screwy fit. So, will some of the tracks as well, in the nicest possible way, a case in point being ‘Nancy Lee’ by Mike Anthony, a hand clapping, sax driven rocker from 1961.
Many of you will be familiar with the thumping bass slapping sound of Ray Campi. This time he’s showcasing a bit of boogie woogie, with the piano based ‘Guadeloupe Boogie’ from a 1996 single. I drew a bit of a blank researching ‘You’re Mean To Me’ by TK Roof. The track from 1958 however is a real treat, with it’s stop-start tempo and almost lazy lilt to the vocals. Similarly, with the Big Rockers’ ‘Rock n Roll USA’, which is a take-no-prisoners rocker.
Larry O’Keefe’s ‘Hot Rockin’ Mama’ out of Texas in the early 60’s, also appeared on a 2016 repro. It was originally a ‘B’ side to ‘Rolling Stone’, both tracks together made up just over three minutes combined. ‘Mama’ has a similar opening to Roy Orbison’s ‘Domino’ incidentally.
Some smashing stroll beat next with Lenny Capello and the Dots’ ‘Cotton Candy’. This has a vocal delivery a bit like Larry Williams, from Capello, a native of Louisiana. The ‘B’ side of the single it came from incidentally is ‘Tootles’ which appears a little later on the CD. My goodness what a cracking R&B 45rpm that was. To the Hart label from Birmingham Alabama next and Phil Cay and the Bluenotes’ ‘Meet Me In The Barnyard’ from ’58, a cool sax wailing stroller rhythm on this one folks. How about ‘My Rockin’ Baby’ by Gene Watson and the Rockets, on Florida’s Tri-Dec Records in 1957, a beauty of a guitar and bass punchy tune. Gene appears later with ‘Drummer Boy Rock’, unsurprisingly featuring some serious solos on the skins.
Not sure if it’s a novelty or a tribute record, but the 3-M Machine’s ‘I’m Gonna Play The Piano’ has the tagline ‘When old Jerry Lee has gone’, set to a ‘killer’ beat. Dixie Records’ Eddie Murphy recorded ‘What Was It’ as a ‘B’ side in 1960, which has a searing guitar solo set against harmony vocals, and piano backbeat. Also, from that record label comes ‘Queen from Bowling Green’ by Art Buchannan, a well-established Rockabilly track about a young lady from the Kentucky town named in the title.
Next up, Farris Wilder and his band with a booming track ‘All Your Fault’ from 1957, which has a bit of Hillbilly meets Rockabilly about it. A real foot stomper. Larry Keith’s ‘Rattlesnake Boogie’ is a peach of a tune, rolling piano and an infectious chunking beat. There’s a seriously swinging track to follow with, it says, Billy Graddock’s ‘Smacky Mouth’. Apparently, the original pressing had spelled Billy Craddock’s name incorrectly, subsequent pressings corrected that. This track though should be remembered for it’s swinging quality though.
Charlie Carey’s ‘Little Red Wagon’ on Sultan Records (Fort Worth Texas) weighs in next, a smooth sounding jiver, followed by Morty Marker and the Impalas ‘Tear Down The House’ from 1959, which has dancefloor stamped all over it. Bonnie Fussell’s ‘Too High Class’, listed in some catalogues as Ronnie Fussell, is diamond track that you have to dig. Cracking R&B rhythm and sax accompaniment, it’s just over two minutes of heaven.
Not many introductions are needed for Link Wray, and his garage sound. Here’s a vocal track, ‘Mary Ann’ from 1960 written by Ray Charles, which retains his inimitable guitar style, and pioneering punky-garage cadence. A similar 60’s Rock n Roll sound can be found next with Danny Ray’s ‘There Never Be Nothing’, a trashy sound that really rocks. Keeping with that theme, the Interns reworking of ‘Long Tall Sally’ which begats ‘Sally Met Molly’, which also includes reference to ‘Hey Hey Hey’, from a single in 1966, gets an outing.
I’d never heard Frank Hammac’s ‘World of Pleasure’ before, from 1964, but I’m glad I did, as it’s a smashing sounding country/Rockabilly sound, and a stinging guitar break, as he sings a song of lost love. An established floor filling stroller next from the country/Rockabilly duo of country music’s Johnny Mathis and Jimmy Lee Fautheree, ‘Knock on Wood’, a superstitious novelty tune from 1961, that’s a true delight. Kangaroo Records of San Gabriel California, released a cool mid-tempo rocker ‘Gear of Love’, which is well worth a listen, as it seems pretty rare, and was written by the wonderfully named Les Kangas.
Jerry Shipman pays tribute to his ‘Rock and Roll Queen’ while the Teenettes top it all of with a wall of sound styled ‘Bye Bye Baby’.
This compilation comes with a booklet, and is choc full of rarities and curios from the vaults of some pretty obscure record labels. And the combination of the styles and tempos are a real treat
Billy Lee Riley – repro 45
A bit of self-indulgence here, as Billy Lee Riley (1933-2009) was one those original Sun Records artists, that became in the 70’s, one of those acts that had records re-released, and introduced many youngsters to Rockabilly. Indeed, at one stage, his silhouette was probably more recognisable than his actual photo.
Here are two crackers from that Sun era. ‘Red Hot’ is powerful and in-your-face, as he argues that his girl has it all, while his (band)mates tell him that she’s got ‘doodley-squat’. On the flip, it’s ‘Pearly Lee’, with his rasping sounding voice, perfectly accompanied by the Little Green Men, as they salute the young lady in the title.
Must haves
A bit of self-indulgence here, as Billy Lee Riley (1933-2009) was one those original Sun Records artists, that became in the 70’s, one of those acts that had records re-released, and introduced many youngsters to Rockabilly. Indeed, at one stage, his silhouette was probably more recognisable than his actual photo.
Here are two crackers from that Sun era. ‘Red Hot’ is powerful and in-your-face, as he argues that his girl has it all, while his (band)mates tell him that she’s got ‘doodley-squat’. On the flip, it’s ‘Pearly Lee’, with his rasping sounding voice, perfectly accompanied by the Little Green Men, as they salute the young lady in the title.
Must haves
Wynona Carr – 45 rpm repro
Wynona Merceris Carr (1923-1976) was a singer songwriter, performer of R&B and gospel songs (as Sister Wynona Carr). Her R&B output on Speciality Records is already etched in dancefloor popularity.
Here she is, backed by the Bumps Blackwell Band, with a twin spin cracker, with her own composition on the ‘A’ side ‘Ding Dong Daddy’, a pacey jiver, with a slight novelty tinge. On the flip, ‘Touch and Go’, written by Sonny Bono, slightly more reserved in tempo, for those with a little less energy maybe.
Essential listening
Wynona Merceris Carr (1923-1976) was a singer songwriter, performer of R&B and gospel songs (as Sister Wynona Carr). Her R&B output on Speciality Records is already etched in dancefloor popularity.
Here she is, backed by the Bumps Blackwell Band, with a twin spin cracker, with her own composition on the ‘A’ side ‘Ding Dong Daddy’, a pacey jiver, with a slight novelty tinge. On the flip, ‘Touch and Go’, written by Sonny Bono, slightly more reserved in tempo, for those with a little less energy maybe.
Essential listening
Brian Diamond and the Cutters – repro 45 rpm
From 1964, and the Fontana Record Label comes a British beat jiver and a stroller on a cool two sider. This was the second single release by the band under the name Brian Diamond and the Cutters.
The ‘A’ side written by Diamond and Les Thatcher, is very much of the era, a call and answer style with a heavy bass guitar rhythm. Listening to it the riff put me in mind of the B52’s ‘Rock Lobster’ (clearly from much later)
Over on the ‘B’ side it’s very much a Liverpool beat sounding ‘Wotcha Gonna Do Now’, with harmony vocals and a real early 60’s rhythm
From 1964, and the Fontana Record Label comes a British beat jiver and a stroller on a cool two sider. This was the second single release by the band under the name Brian Diamond and the Cutters.
The ‘A’ side written by Diamond and Les Thatcher, is very much of the era, a call and answer style with a heavy bass guitar rhythm. Listening to it the riff put me in mind of the B52’s ‘Rock Lobster’ (clearly from much later)
Over on the ‘B’ side it’s very much a Liverpool beat sounding ‘Wotcha Gonna Do Now’, with harmony vocals and a real early 60’s rhythm
Tom James – repro 45
Tom James was a Country music singer and songwriter from Oklahoma, who recorded with RCA for a year before joining (now defunct) Klix records, Nashville, which released this ace twin spin in 1958.
‘Track Down Baby’ is one of those story songs, basically of a young couple, ready but not ready to get married, and miscommunicating, then reconnecting, to a hopping Hillbilly/Rockabilly beat. ‘Hey Baby’ is another declaration of love, set to a peppy rhythm, making this a highly desirable 45.
Tom James was a Country music singer and songwriter from Oklahoma, who recorded with RCA for a year before joining (now defunct) Klix records, Nashville, which released this ace twin spin in 1958.
‘Track Down Baby’ is one of those story songs, basically of a young couple, ready but not ready to get married, and miscommunicating, then reconnecting, to a hopping Hillbilly/Rockabilly beat. ‘Hey Baby’ is another declaration of love, set to a peppy rhythm, making this a highly desirable 45.
Don French – repro 45rpm
This Don French 45, pairs together two tracks, from what seems to be half of his entire output on the Lancer Record label in the late 1950s. Both are written by him.
‘Goldilocks’ has nothing in the lyrics that relates to the fairy tale figure of that name. It’s a guitar driven mid-tempo rocker with a call-and-answer vocal deliver and a pretty smooth sax accompaniment. ‘Little Blonde Girl’ could’ve been the prequal to ‘Goldilocks’, in fact it’s release was a few months earlier. This is a well-established, uber-cool jiver that’s a delight on it’s own
Essential listening
This Don French 45, pairs together two tracks, from what seems to be half of his entire output on the Lancer Record label in the late 1950s. Both are written by him.
‘Goldilocks’ has nothing in the lyrics that relates to the fairy tale figure of that name. It’s a guitar driven mid-tempo rocker with a call-and-answer vocal deliver and a pretty smooth sax accompaniment. ‘Little Blonde Girl’ could’ve been the prequal to ‘Goldilocks’, in fact it’s release was a few months earlier. This is a well-established, uber-cool jiver that’s a delight on it’s own
Essential listening
Etta James – repro 45rpm
Jamesetta Hawkins (1938 – 2012) was professionally known as Etta James, and was a performer of Blues, R&B and soul, throughout her lengthy career. And what a career, with six Grammy wins and seventeen Blues Music Awards, as well as being inducted into the Rock n Roll, Blues and Grammy Halls of Fame.
‘The Wallflower’ from 1955, is one of the many answer records to ‘Work With Me Annie’, and is often referred to as ‘Roll With Me Henry’, and follows a similar R&B melody. Also from ’55 ‘Good Rockin’ Daddy’ another stroll sound in a similar style.
Two true classics
Jamesetta Hawkins (1938 – 2012) was professionally known as Etta James, and was a performer of Blues, R&B and soul, throughout her lengthy career. And what a career, with six Grammy wins and seventeen Blues Music Awards, as well as being inducted into the Rock n Roll, Blues and Grammy Halls of Fame.
‘The Wallflower’ from 1955, is one of the many answer records to ‘Work With Me Annie’, and is often referred to as ‘Roll With Me Henry’, and follows a similar R&B melody. Also from ’55 ‘Good Rockin’ Daddy’ another stroll sound in a similar style.
Two true classics
The Country Side of Harmonica Sam – 45rpm reissue
This 45 from El Toro records, sold by the barrow-load during it’s original run. Now it has been re-released on black vinyl, and will probably fly off the shelves just as quickly.
Why? Well, it has one of the most popular Western Swing style dancefloor fillers, ‘Lookout Heart’. This is a remake of the Coy Jackson’s original, which was recorded in 1966, and released on Rimrock Records. The band here added some exquisite slide guitar, and a slightly quicker rhythm.
Paired with that is a gorgeous country ramble, ‘True Lies’. It’s an expertly put together tune written by Tobias Einestad, and executed perfectly by the band. It sounds like a song straight out of the vaults from the 1950’s, not 2016, it’s sound is that authentic.
Excellent!
This 45 from El Toro records, sold by the barrow-load during it’s original run. Now it has been re-released on black vinyl, and will probably fly off the shelves just as quickly.
Why? Well, it has one of the most popular Western Swing style dancefloor fillers, ‘Lookout Heart’. This is a remake of the Coy Jackson’s original, which was recorded in 1966, and released on Rimrock Records. The band here added some exquisite slide guitar, and a slightly quicker rhythm.
Paired with that is a gorgeous country ramble, ‘True Lies’. It’s an expertly put together tune written by Tobias Einestad, and executed perfectly by the band. It sounds like a song straight out of the vaults from the 1950’s, not 2016, it’s sound is that authentic.
Excellent!
Jimmy Breedlove – Repro 45 rpm
Jimmy Breedlove 1928-78, was a member of the Cues, and one of the lead backing singers at Atlantic Records. Interestingly he never recorded any of his solo work on that label. Here is one of his solo records from 1962 on Diamond Records.
‘Jealous Fool’ is already cemented as a dancefloor standard, and coupled with a bright and bouncy ‘Li’l Ol’ Me (Loves Li’l Ol’ You)’ this makes for a DJ must have
Jimmy Breedlove 1928-78, was a member of the Cues, and one of the lead backing singers at Atlantic Records. Interestingly he never recorded any of his solo work on that label. Here is one of his solo records from 1962 on Diamond Records.
‘Jealous Fool’ is already cemented as a dancefloor standard, and coupled with a bright and bouncy ‘Li’l Ol’ Me (Loves Li’l Ol’ You)’ this makes for a DJ must have
Kenny Baker – repro 45rpm
This classic two sider from Orbit Records ‘The Sound that’s out of this world’ out of Hollywood, California, seems to represent the entire recorded output from Kenny Baker. This is a great shame as he has an exceptionally good voice, covering a stroll and jive tempo on this 45rpm
Depending on where you look, either song is the ‘A’ side, however consensus seems to be that ‘I’m Gonna Love You’ is the ‘A’ side. This is a joyous declaration of love set to a zippy rocking beat.
On the ‘B’ side, a tragic tale of the actress Judy Tyler. She had starred opposite Elvis in Jailhouse Rock, as the record producer that gave Elvis’ character success. Just a few weeks after the filming was wrapped for Jailhouse Rock she was killed in a car accident (that took her husband a day later). This song is a tribute to her.
This classic two sider from Orbit Records ‘The Sound that’s out of this world’ out of Hollywood, California, seems to represent the entire recorded output from Kenny Baker. This is a great shame as he has an exceptionally good voice, covering a stroll and jive tempo on this 45rpm
Depending on where you look, either song is the ‘A’ side, however consensus seems to be that ‘I’m Gonna Love You’ is the ‘A’ side. This is a joyous declaration of love set to a zippy rocking beat.
On the ‘B’ side, a tragic tale of the actress Judy Tyler. She had starred opposite Elvis in Jailhouse Rock, as the record producer that gave Elvis’ character success. Just a few weeks after the filming was wrapped for Jailhouse Rock she was killed in a car accident (that took her husband a day later). This song is a tribute to her.
Larry Terry – repro 45
On this single, we have the entirety of Larry Terry’s recording career. He wrote ‘Why Did She Go’ in ’55 and ‘Hepcat’ in ’57, although the original single wasn’t released until June 1961. This repro comes in an exquisite picture sleeve, and is worth it just for ‘Hepcat’ which has to be one of the monster Rockabilly tracks.
Make no bones readers, this will be a biggie!
On this single, we have the entirety of Larry Terry’s recording career. He wrote ‘Why Did She Go’ in ’55 and ‘Hepcat’ in ’57, although the original single wasn’t released until June 1961. This repro comes in an exquisite picture sleeve, and is worth it just for ‘Hepcat’ which has to be one of the monster Rockabilly tracks.
Make no bones readers, this will be a biggie!
Lenny and the Thundertones – repro 45
This repro 45rpm single pairs together a couple of kickin’ guitar tunes. From 1962 comes ‘Big Berry (Boss Man Guitar)’, a tribute to Chuck Berry, naming a number of his songs throughout, and utilising his guitar style in the solo. It came from a 1963 single on the Hyland label, which had the same track on both sides.
On the opposite, a corking stroller, ‘Road Signs’, a raw and ballsy rhythm and blues beat, using the travelling and highway theme.
A quality pairing, very well presented in a picture sleeve from TM Records, designed by Andy Brittan of AB Creative
This repro 45rpm single pairs together a couple of kickin’ guitar tunes. From 1962 comes ‘Big Berry (Boss Man Guitar)’, a tribute to Chuck Berry, naming a number of his songs throughout, and utilising his guitar style in the solo. It came from a 1963 single on the Hyland label, which had the same track on both sides.
On the opposite, a corking stroller, ‘Road Signs’, a raw and ballsy rhythm and blues beat, using the travelling and highway theme.
A quality pairing, very well presented in a picture sleeve from TM Records, designed by Andy Brittan of AB Creative
Little Dave and the Sun Sessions – EP
Recorded at Sugar Ray’s Recording Studio, this EP on Vee Tone Records from Little Dave and the Sun Sessions has everything! A true authentic sound, two cracking original songs and two ace covers.
The rhythmic strum of an acoustic guitar heralds a thumping slice of Rockabilly in ‘I Don’t Know Why I Love You’. Searing lead guitar break and super slap bass on this track readers. Next up on the ‘A’ side is a stick-on dance floor winning blues bopper in the shape of ‘How About Tonight’. It’s your classic wailing harmonica over that familiar bop beat. I defy listeners not to insert their own ‘How How How Hows’. Excellent stuff
Turn over and we have two well know cover tunes. Sid King and the Five Strings’ ‘Purr Kitty Purr’ is legendary. This is a solid version folk, just the right amount of reverb on the guitar and slap on the bass. Finally, Carl Perkins’ ‘Baby You Can Do No Wrong’, basically allowing his sweetheart to perform all sorts of misdemeanours and not face any repercussions, set to a sumptuous Rockabilly beat.
This is limited to a 300 press, don’t miss out
Recorded at Sugar Ray’s Recording Studio, this EP on Vee Tone Records from Little Dave and the Sun Sessions has everything! A true authentic sound, two cracking original songs and two ace covers.
The rhythmic strum of an acoustic guitar heralds a thumping slice of Rockabilly in ‘I Don’t Know Why I Love You’. Searing lead guitar break and super slap bass on this track readers. Next up on the ‘A’ side is a stick-on dance floor winning blues bopper in the shape of ‘How About Tonight’. It’s your classic wailing harmonica over that familiar bop beat. I defy listeners not to insert their own ‘How How How Hows’. Excellent stuff
Turn over and we have two well know cover tunes. Sid King and the Five Strings’ ‘Purr Kitty Purr’ is legendary. This is a solid version folk, just the right amount of reverb on the guitar and slap on the bass. Finally, Carl Perkins’ ‘Baby You Can Do No Wrong’, basically allowing his sweetheart to perform all sorts of misdemeanours and not face any repercussions, set to a sumptuous Rockabilly beat.
This is limited to a 300 press, don’t miss out
The I. V. Leaguers – Repro 45rpm
Now for a band about which we know next to nothing, other than this beaut of a 45 from 1959, blending two totally different styles on one record. The label is the Nau-Voo label out of West Portsmouth, Ohio that released records from ’58-59.
The ‘A’ side is a simply sublime Rockabilly instrumental, a ballsy guitar rocker with rasping sax break, that hopefully now re-released will get some airplay. It’s up there readers.
By complete contrast, and in keeping with their other recording on Dot Records, they present a white doo-wop smasher ‘Told By The Stars’, a super cool harmonious vocal love song.
Love it
Now for a band about which we know next to nothing, other than this beaut of a 45 from 1959, blending two totally different styles on one record. The label is the Nau-Voo label out of West Portsmouth, Ohio that released records from ’58-59.
The ‘A’ side is a simply sublime Rockabilly instrumental, a ballsy guitar rocker with rasping sax break, that hopefully now re-released will get some airplay. It’s up there readers.
By complete contrast, and in keeping with their other recording on Dot Records, they present a white doo-wop smasher ‘Told By The Stars’, a super cool harmonious vocal love song.
Love it
Domino's lockdown gig in February
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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 avoid copying and pasting articles or parts of articles to your websites or social media, we'd prefer people to visit our site direct. 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
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 avoid copying and pasting articles or parts of articles to your websites or social media, we'd prefer people to visit our site direct. 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
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
