the bettajive review magazine #16
Our big interview with Ramblin' Ellie
Welcome to issue #16 of our magazine. As we write, here in the UK, the Covid-19 vaccine program is rolling out at speed, although the return to any kind of live events to review, still seems a long way off. We will continue to bring you the best of what's going on among the resourceful souls that make up the Rock n Roll scene.
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
In the meantime, please make sure you follow Government advice
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
In the meantime, please make sure you follow Government advice
The Bettajive Review
Really Reality? Longer nights and less daylight, recollections of the reruns of musical and talent shows (and I use the term both loosely and, in some cases, wrongly). Saturday night’s TV often makes us realise how lucky we were (and hopefully will be again) to be able to go out and enjoy our favourite music and not subject ourselves to the codswallop paraded before us. Then on ‘plus 1’ repeated the next day, and plus one-d again, with supplemental magazine programs as well (also plus one-d!).
I often wonder how the artists we have grown to love from the 50’s would have fared on such programs if they, in their prime, were to show up at the audition stage now. How about a few examples? And as a Bettajive disclaimer, any similarity between the contents in this article and anyone, thing, event or otherwise, present or past, is purely co-incidental………..
The program starts. Quiet piano music and along comes a twenty something country boy with his leg in plaster, with tumbling greasy locks and an acoustic guitar. ‘This is Eugene, (says the voiceover as he picks up his number from the desk) ‘He was injured in an accident, and now he’s hoping to make a name for himself singing his own songs’. On the stage limps our man to the pre determined spot on the stage. The four judges nudge each other and one looks slightly mockingly at him. ‘And you are?’ one asks. ‘Eugene’ comes the reply. ‘Ok Eugene’ what are you going to sing for us?’. ‘My own song Sir, it’s called ‘Be Bop A Lula’, and it goes like this’.
Launching into the opening ‘We---------ll, Be Bop a Lula’, the judge with his jumper tucked into his underpants holds his hand up, halting the proceedings. ‘Have you got anything a bit more sensible sounding?’ Eugene suggests ‘We----ll as I was a-walkin’ down the street, I heard a crazy song with a crazy beat’, and launches himself into ‘Bi-Bickey Bi Bo Bo’. The audience clap and cheer, and the focus is on the judges.
First, it’s the one that used to be in a girl group that mimed through a decade and is celebrated moreso for flashing her themed underpants at Tony Blair. ‘I think you’ve got a good voice, and the song’s quite bouncy, but I dunno if it will appeal to the youngsters.’ (cue barracking from Eugene’s family in the audience). Next judge, fortunate enough to be flying on the coat tails of a boy band he produced years before that happened to have sold a squillion records. ‘You made that song your own, I quite like you’ he points out in the most patronising way.
Judge three, current inflatable female popstar that had a number one in the last couple of years, although selling a fraction of the number of records as Joe Dolce’s ‘Shaddup Your Face’, and now more famous for falling out of a nightclub (and her dress) with a footballer who once played for Stenhousemuir reserves. ‘I fink you’re like tallintid, but I dunno if it what like we’re lookin’ for and stuff’. Head judge (jumper in pants). ‘Ok, I don’t think that there is a market for a one trick pony like you. Your voice is pretty good, but why do you look at the ceiling when you’re singing, and how are you likely to fare in ABBA week? How will your version of ‘Waterloo’ compare with some of the other acts we’ve put through? So I’m afraid it’s a no from me’.
Eugene leaves the stage, as another guy, Charles, with a cherry red guitar comes on. He hits the groove with his live act of a song called ‘Baby Doll’ and does a dance while playing guitar and an interesting walk, let’s say, like a duck, to the crowd’s amusement.
Inflatable judge ‘I fink you’re like tallintid, but I dunno if it what like we’re lookin’ for and stuff’. Ex girl band judge ‘You made me laugh and the song’s quite good, but I dunno’. Boy band judge ‘I thought it was great…….and……I like you’. (rapturous applause) Head judge, ‘I like the fact that you have a red guitar and a funny act, but how far is that likely to take you in the competition, (when they have people with no guitars, no act, no clue and no talent) ‘You’re a good novelty act, but it’s a no’.
A group next, all in tartan tuxedo jackets, with a variety of instruments. ‘We’re gonna tear down the mailbox, rip up the floor…’ they launch into ‘Rock the Joint’. The crowd cheer as the band jump around, roll about the floor and stand on the double bass. They’ve got to love that? No? Inflatable judge ‘I fink you’re like tallintid, but I dunno if it what like we’re lookin’ for and stuff’. Ex girl band judge ‘You made me laugh and the song’s quite good, but I dunno, should we be allowing incitement to wilfully demolish municipal property’. Boy band judge ‘I thought it was great…….and……I like you’. (rapturous applause) ‘Errrrrrrm, yes it was energetic, and yes you can play your instruments well, but those acrobatics? I really don’t know, and you with the eye missing in the middle, are you going to appeal to the music buying public? It’s a tough one’.
Sounds daft I know, but I wonder if Elvis in ’56 would get anywhere, hip swivelling, white bucks, pink pegs and all. And even if he did get to the judges homes, boy band judge would probably pick two talent less oiks who can just about string together ‘Mairzy Dotes and Dozy Dotes’ over him. Girl band judge and inflatable judge might because they fancy him, but head judge wouldn’t, cos he’s way to talented and would remove the limelight from his ever-increasing enhanced amazed look.
Though I do wonder about Eugene’s take on ‘Waterloo’, could’ve been cool!
Like what you see? Help us keep it free by popping a donation over using the button below. Whatever you can. Many thanks in advance
Really Reality? Longer nights and less daylight, recollections of the reruns of musical and talent shows (and I use the term both loosely and, in some cases, wrongly). Saturday night’s TV often makes us realise how lucky we were (and hopefully will be again) to be able to go out and enjoy our favourite music and not subject ourselves to the codswallop paraded before us. Then on ‘plus 1’ repeated the next day, and plus one-d again, with supplemental magazine programs as well (also plus one-d!).
I often wonder how the artists we have grown to love from the 50’s would have fared on such programs if they, in their prime, were to show up at the audition stage now. How about a few examples? And as a Bettajive disclaimer, any similarity between the contents in this article and anyone, thing, event or otherwise, present or past, is purely co-incidental………..
The program starts. Quiet piano music and along comes a twenty something country boy with his leg in plaster, with tumbling greasy locks and an acoustic guitar. ‘This is Eugene, (says the voiceover as he picks up his number from the desk) ‘He was injured in an accident, and now he’s hoping to make a name for himself singing his own songs’. On the stage limps our man to the pre determined spot on the stage. The four judges nudge each other and one looks slightly mockingly at him. ‘And you are?’ one asks. ‘Eugene’ comes the reply. ‘Ok Eugene’ what are you going to sing for us?’. ‘My own song Sir, it’s called ‘Be Bop A Lula’, and it goes like this’.
Launching into the opening ‘We---------ll, Be Bop a Lula’, the judge with his jumper tucked into his underpants holds his hand up, halting the proceedings. ‘Have you got anything a bit more sensible sounding?’ Eugene suggests ‘We----ll as I was a-walkin’ down the street, I heard a crazy song with a crazy beat’, and launches himself into ‘Bi-Bickey Bi Bo Bo’. The audience clap and cheer, and the focus is on the judges.
First, it’s the one that used to be in a girl group that mimed through a decade and is celebrated moreso for flashing her themed underpants at Tony Blair. ‘I think you’ve got a good voice, and the song’s quite bouncy, but I dunno if it will appeal to the youngsters.’ (cue barracking from Eugene’s family in the audience). Next judge, fortunate enough to be flying on the coat tails of a boy band he produced years before that happened to have sold a squillion records. ‘You made that song your own, I quite like you’ he points out in the most patronising way.
Judge three, current inflatable female popstar that had a number one in the last couple of years, although selling a fraction of the number of records as Joe Dolce’s ‘Shaddup Your Face’, and now more famous for falling out of a nightclub (and her dress) with a footballer who once played for Stenhousemuir reserves. ‘I fink you’re like tallintid, but I dunno if it what like we’re lookin’ for and stuff’. Head judge (jumper in pants). ‘Ok, I don’t think that there is a market for a one trick pony like you. Your voice is pretty good, but why do you look at the ceiling when you’re singing, and how are you likely to fare in ABBA week? How will your version of ‘Waterloo’ compare with some of the other acts we’ve put through? So I’m afraid it’s a no from me’.
Eugene leaves the stage, as another guy, Charles, with a cherry red guitar comes on. He hits the groove with his live act of a song called ‘Baby Doll’ and does a dance while playing guitar and an interesting walk, let’s say, like a duck, to the crowd’s amusement.
Inflatable judge ‘I fink you’re like tallintid, but I dunno if it what like we’re lookin’ for and stuff’. Ex girl band judge ‘You made me laugh and the song’s quite good, but I dunno’. Boy band judge ‘I thought it was great…….and……I like you’. (rapturous applause) Head judge, ‘I like the fact that you have a red guitar and a funny act, but how far is that likely to take you in the competition, (when they have people with no guitars, no act, no clue and no talent) ‘You’re a good novelty act, but it’s a no’.
A group next, all in tartan tuxedo jackets, with a variety of instruments. ‘We’re gonna tear down the mailbox, rip up the floor…’ they launch into ‘Rock the Joint’. The crowd cheer as the band jump around, roll about the floor and stand on the double bass. They’ve got to love that? No? Inflatable judge ‘I fink you’re like tallintid, but I dunno if it what like we’re lookin’ for and stuff’. Ex girl band judge ‘You made me laugh and the song’s quite good, but I dunno, should we be allowing incitement to wilfully demolish municipal property’. Boy band judge ‘I thought it was great…….and……I like you’. (rapturous applause) ‘Errrrrrrm, yes it was energetic, and yes you can play your instruments well, but those acrobatics? I really don’t know, and you with the eye missing in the middle, are you going to appeal to the music buying public? It’s a tough one’.
Sounds daft I know, but I wonder if Elvis in ’56 would get anywhere, hip swivelling, white bucks, pink pegs and all. And even if he did get to the judges homes, boy band judge would probably pick two talent less oiks who can just about string together ‘Mairzy Dotes and Dozy Dotes’ over him. Girl band judge and inflatable judge might because they fancy him, but head judge wouldn’t, cos he’s way to talented and would remove the limelight from his ever-increasing enhanced amazed look.
Though I do wonder about Eugene’s take on ‘Waterloo’, could’ve been cool!
Like what you see? Help us keep it free by popping a donation over using the button below. Whatever you can. Many thanks in advance
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Dot….dot Best tracks in the world ever ever to plunge your pipe-work for this month are Gene Vincent’s ‘King of Fools’, ‘High School Caesar’ by Reggie Perkins and ‘Whoa Boy’ by Luke McDaniel….To the ‘reviewer’ who plagiarised our material from previous issues, we are onto you, the trap is set (sweeps large black coat across face) muhahahaha……Trying to avoid Boris-isms, the vaccine cavalry are on their way, hopefully sometime soon we will all be able to meet up again, he says with caution, see below…… Someone accused me of being a plagiarist. Their words not mine……Lockdown eh? Even heard that sea shantys are becoming popular. How long before ‘Way hey blow the man down’ get’s a rockin’ beat then? Don’t forget that Sex Pistol song about the ‘rigging’ came from that source……This month marks the 8th birthday of this website, originally blogs and reviews, although the magazine started in 2019. This year also marks seventeen years of our writing and reviewing. Would really love to actually go somewhere and get back into it now….Our condolences go out to the family and friends of Allen Crain, who recently passed away with Covid-19.....
Home truth. So, there may be a map out of this mess, however with the Rockabilly Rave (June 2021) already postponed, (there are not enough swear words!) it makes us wonder just how long it will be until there are gatherings, the like of which we knew and loved. The last gig we went to was the Hicksville Bombers in September 2020, which was run at ‘half speed’ allowing fewer people in and no dancing.
I have this impending sense that ‘gigs’ will consist of either the outdoor variety, in pre-marked car parks or fields, or indoors at a heavily restricted style. So, one dainty little waif, strumming a twelve-string guitar, warbling her own folk songs ‘I beheld a Futtock-Snark* today’ and the like, to the occupants of twenty well-spaced chairs. Urrrgh!
I’ve seen musicians and other folk who make their living out of performing live speak of the need for an audience. It’s going to be very difficult to run a restricted gig. Certainly with our music, and community, trying to keep people apart and still(!) is almost impossible. Mirth inspectors and dance dobbers and fun police around a hall? Don’t see that working.
For those readers who don’t know what a Futtock Snark is…..neither do I.
Home truth. So, there may be a map out of this mess, however with the Rockabilly Rave (June 2021) already postponed, (there are not enough swear words!) it makes us wonder just how long it will be until there are gatherings, the like of which we knew and loved. The last gig we went to was the Hicksville Bombers in September 2020, which was run at ‘half speed’ allowing fewer people in and no dancing.
I have this impending sense that ‘gigs’ will consist of either the outdoor variety, in pre-marked car parks or fields, or indoors at a heavily restricted style. So, one dainty little waif, strumming a twelve-string guitar, warbling her own folk songs ‘I beheld a Futtock-Snark* today’ and the like, to the occupants of twenty well-spaced chairs. Urrrgh!
I’ve seen musicians and other folk who make their living out of performing live speak of the need for an audience. It’s going to be very difficult to run a restricted gig. Certainly with our music, and community, trying to keep people apart and still(!) is almost impossible. Mirth inspectors and dance dobbers and fun police around a hall? Don’t see that working.
For those readers who don’t know what a Futtock Snark is…..neither do I.
New for May 2021
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Click flyers for details
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Domino's upcoming February gig
Hear ye, hear ye. The beauty of wireless mobile devices and sound bars is that you can take internet all over the place in the house. We tend to treat the shows on the internet much like radio, and indeed appreciate some of the radio shows and stations. So a quick run down of all the events and shows we’ve encountered and indeed enjoyed this past few weeks, doing our best not to miss anyone out! If you’re not here, don’t get bent out of shape please, it may be that we haven’t heard/seen you yet.
Nigel Babb, DJ Domino, and his Lockdown DJ Jamborees, are a continued source of delight, with a myriad of DJs from a variety of places. Bringing Double Trouble, Nikki Morgenstern and Robb Popp from Germany, Las Lunaticas from Finland, Italy’s House Rockin’ Chris, along with a selection of UK DJs, the likes of Dave Mumbles, Bill Guntrip and Tartan Ted, among others, on board was a treat in mid January.
Nigel Babb, DJ Domino, and his Lockdown DJ Jamborees, are a continued source of delight, with a myriad of DJs from a variety of places. Bringing Double Trouble, Nikki Morgenstern and Robb Popp from Germany, Las Lunaticas from Finland, Italy’s House Rockin’ Chris, along with a selection of UK DJs, the likes of Dave Mumbles, Bill Guntrip and Tartan Ted, among others, on board was a treat in mid January.
The Lockdown Rockin Weekender is another source of fine music, again mixing nationalities, Marc Valentine and Adam Classic from Germany and Spain respectively, Hideki from Canada, with the UK’s Les Prendergast and Dave Flynn (both from LP and the Dirty White Bucks) and the ubiquitous Danny Brown.
The Cactus Club events and Facebook site has gained considerable traction, culminating in their presentation, with Cat Talk Lee opening up a great event featuring Adrian Waters, David Willis, El Nova (USA) Fat Kat & Julie and Dirk Wildgoner (Germany) spinning a fantastic variety of tunes.
The Cactus Club events and Facebook site has gained considerable traction, culminating in their presentation, with Cat Talk Lee opening up a great event featuring Adrian Waters, David Willis, El Nova (USA) Fat Kat & Julie and Dirk Wildgoner (Germany) spinning a fantastic variety of tunes.
DJ Del Villarrael
If that were not enough, there’s also the stalwarts of the Covid crisis, Thee Vanessa Holmes Show, still providing Saturday evenings with variety and comment, having done so right from the start of all this. Rockin’ Roland’s themed shows, mixing today’s sounds with original 50’s stuff over in the ‘tonks of Norfolk. Jay Cee in France has presented his super R&B show also since we got started in this. All those plus Curtis Knott, Courtney Oakes, Robin Summerfield, Dirk Wildgoner, Tojo, Andy Roadoiler, Rohan Voo, Andy Munday, The Guntrip family, Simon Flintstone and Joe Newbon & Becca Lou. Check out Mixcloud too for archived shows including Mister Big Feet and Lee Russell
Then there’s the radio stations. Racketeer Radio, is everything nostalgic, if you’d like to call it so. Not just a music station, but a consummate organisation covering all types, genres and styles, including shows like Ripley’s Believe It Or Not, ‘Original Big Band Showcase’, The Abbot and Costello Show and Rockabilly n Blues.
Mustn’t forget DJ Del Villarrael over in Michigan, on Go Kat Go the Rockabilly Show that we catch on Spotify, and shouts out to Steve Cunningham, John Macleod, Ruby Ann and Be Bop Kaz on Rockin 247. And just like that, a seamless segue, here’s a brief interview with the lady herself
Then there’s the radio stations. Racketeer Radio, is everything nostalgic, if you’d like to call it so. Not just a music station, but a consummate organisation covering all types, genres and styles, including shows like Ripley’s Believe It Or Not, ‘Original Big Band Showcase’, The Abbot and Costello Show and Rockabilly n Blues.
Mustn’t forget DJ Del Villarrael over in Michigan, on Go Kat Go the Rockabilly Show that we catch on Spotify, and shouts out to Steve Cunningham, John Macleod, Ruby Ann and Be Bop Kaz on Rockin 247. And just like that, a seamless segue, here’s a brief interview with the lady herself
Artwork by Andy Brittan AB Creative
DJ Be Bop Kaz
I had always loved 50's rock 'n' roll and went to my first Rock n Roll gig at 13 with a schoolfriend and her older sister. There were records I'd never heard but instantly loved. I went back to the gig the following week with my wages from my paper round and Saturday job. There was a guy who sold records from a little box and I brought my first 2 45's. Those 45's were Stuttering Sindy -Charlie Feathers and Honey Don't - Carl Perkins. That was the start of my vinyl addiction.
From then on, I started buying 45's I found in junk shops and at jumble sales and made regular visits to our local independent record store which had a big rock 'n' roll section. I brought all the great LP's of the time - Imperial Rockabillies, Mercury Rockabilly, MCA vols 1 -4 etc. I've continued to collect throughout my life, it's now easier than ever with the Internet simplifying finding and buying records from around the globe.
The DJaying started a bit later, around 1982. I did the door for a friend who ran a gig in a room upstairs at a pub. He taught me how to DJ so that I could put a few records on when he needed to answer a call of nature as the loo was downstairs. When he was unable to do the gig for a few weeks, suddenly and unexpectedly, I agreed to cover his absence. I loved DJaying and realised it was a way to fund and expand my record collection. it wasn't easy being a lone female DJ back then and by the early 90's I'd started promoting too so that I had places to DJ.
If anyone is interested in sponsoring my show they can contact me via my facebook Be Bop Kaz page Be Bop Kaz | Facebook which is what I use for all DJ activities. The show is an opportunity to play great music including some tunes that are rarely played in clubs because they are not good for dancers and to try out new tracks.
I had always loved 50's rock 'n' roll and went to my first Rock n Roll gig at 13 with a schoolfriend and her older sister. There were records I'd never heard but instantly loved. I went back to the gig the following week with my wages from my paper round and Saturday job. There was a guy who sold records from a little box and I brought my first 2 45's. Those 45's were Stuttering Sindy -Charlie Feathers and Honey Don't - Carl Perkins. That was the start of my vinyl addiction.
From then on, I started buying 45's I found in junk shops and at jumble sales and made regular visits to our local independent record store which had a big rock 'n' roll section. I brought all the great LP's of the time - Imperial Rockabillies, Mercury Rockabilly, MCA vols 1 -4 etc. I've continued to collect throughout my life, it's now easier than ever with the Internet simplifying finding and buying records from around the globe.
The DJaying started a bit later, around 1982. I did the door for a friend who ran a gig in a room upstairs at a pub. He taught me how to DJ so that I could put a few records on when he needed to answer a call of nature as the loo was downstairs. When he was unable to do the gig for a few weeks, suddenly and unexpectedly, I agreed to cover his absence. I loved DJaying and realised it was a way to fund and expand my record collection. it wasn't easy being a lone female DJ back then and by the early 90's I'd started promoting too so that I had places to DJ.
If anyone is interested in sponsoring my show they can contact me via my facebook Be Bop Kaz page Be Bop Kaz | Facebook which is what I use for all DJ activities. The show is an opportunity to play great music including some tunes that are rarely played in clubs because they are not good for dancers and to try out new tracks.
As mentioned above, Racketeer Radio
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Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio. |
Interview with Ramblin Ellie and the Bashtones
Last issue you’d have read our review of ‘Find Another Fool’, the LP by Swedish band Ramblin’ Ellie and the Bashtones. Although they’ve been around for some seven years, they were new to us. So we thought we’d find out a bit more about the band, their influences and style.
BJR. First of all, we have to know, who are Ramblin’ Ellie and the Bashtones
RE We are a Swedish band who plays a mix of Rock N Roll, Rockabilly Country, and some Teen Beat and when we are together with our friend in The Velvet Candle we are also doing som Doo wop songs. One thing we think is very important is to have fun together and we really do. We have often been told that it shows up on stage, which makes us very happy.
BJR. What are your musical backgrounds, were you all into fifties style music before the formation of the band
RE Most of us have been into the fifties style since our teens and most of the musicians have been in several bands who have been playing Rockabilly and country.
BJR. And your influences both past and/or present
RE. One thing worth to be mentioned here, is that in the area where we live, Teen beat is very popular and something some of us, more or less, grew up with. Some artists we are influenced by are Pat Harvey, Robin Clark, Ricky Nelson, Bob Luman and Faron Young. Just to mention a few.
BJR. How and when did the band form?
RE It all started in 2013 with some changes over the years. Simone decided to start her own band, after she had been a small part in a band called Southern Aces, who played mostly Johnny Cash covers. She wanted to do something different, like try to do some Teen Beat. She knew it was a hard thing to do, but gave it a try to do it, in her own way. She headhunted musicians who wanted to give her idea a try.
BJR. The selection of songs on the LP is both diverse and varied. How much input do you all have in the process of choosing your material?
RE Most of the songs have been chosen by Simone but she always talks to the musicians about what they think and if it’s possible to do. So the band has some kind of input ;) We all like to choose, more or less, rare songs and yes, they are a little diverse and that’s because we like a lot of styles in this genre.
BJR. You collaborate with the Velvet Candles on the LP, tell us how that came about
RE The first time Simone met The Velvet Candles were at a venue in Höör, Sweden. She was doing a Sun Record Tribute together with several talented Swedish artists, the Sun Studio drummer Jm Van Eaton and The Velvet Candles. Simone didn’t have the chance to talk to them before the sound check. She had been told that they were going to do the backings and that was all she knew. That was one of the most exciting things she had ever experienced when it came to music. As she really likes Teen beat , where there often are a lot of vocal backings, she was in heaven. This was what she had been looking for. Simone had, with help from other musician friends, organized a venue called Teen Town Hop (in Sweden). That’s a show, as you already might have figured out, with Teen Beat. When we had heard these guys, we knew who we wanted to join us at the Teen Town Hop and they did. Since then we have had a couple of shows together.
BJR. When did the band start performing live?
RE After a couple of months of rehearsals we started performing live in the summer 2013. It started out very well with shows around Sweden. Since then we have had gigs, both at big festivals and small parties
Last issue you’d have read our review of ‘Find Another Fool’, the LP by Swedish band Ramblin’ Ellie and the Bashtones. Although they’ve been around for some seven years, they were new to us. So we thought we’d find out a bit more about the band, their influences and style.
BJR. First of all, we have to know, who are Ramblin’ Ellie and the Bashtones
RE We are a Swedish band who plays a mix of Rock N Roll, Rockabilly Country, and some Teen Beat and when we are together with our friend in The Velvet Candle we are also doing som Doo wop songs. One thing we think is very important is to have fun together and we really do. We have often been told that it shows up on stage, which makes us very happy.
BJR. What are your musical backgrounds, were you all into fifties style music before the formation of the band
RE Most of us have been into the fifties style since our teens and most of the musicians have been in several bands who have been playing Rockabilly and country.
BJR. And your influences both past and/or present
RE. One thing worth to be mentioned here, is that in the area where we live, Teen beat is very popular and something some of us, more or less, grew up with. Some artists we are influenced by are Pat Harvey, Robin Clark, Ricky Nelson, Bob Luman and Faron Young. Just to mention a few.
BJR. How and when did the band form?
RE It all started in 2013 with some changes over the years. Simone decided to start her own band, after she had been a small part in a band called Southern Aces, who played mostly Johnny Cash covers. She wanted to do something different, like try to do some Teen Beat. She knew it was a hard thing to do, but gave it a try to do it, in her own way. She headhunted musicians who wanted to give her idea a try.
BJR. The selection of songs on the LP is both diverse and varied. How much input do you all have in the process of choosing your material?
RE Most of the songs have been chosen by Simone but she always talks to the musicians about what they think and if it’s possible to do. So the band has some kind of input ;) We all like to choose, more or less, rare songs and yes, they are a little diverse and that’s because we like a lot of styles in this genre.
BJR. You collaborate with the Velvet Candles on the LP, tell us how that came about
RE The first time Simone met The Velvet Candles were at a venue in Höör, Sweden. She was doing a Sun Record Tribute together with several talented Swedish artists, the Sun Studio drummer Jm Van Eaton and The Velvet Candles. Simone didn’t have the chance to talk to them before the sound check. She had been told that they were going to do the backings and that was all she knew. That was one of the most exciting things she had ever experienced when it came to music. As she really likes Teen beat , where there often are a lot of vocal backings, she was in heaven. This was what she had been looking for. Simone had, with help from other musician friends, organized a venue called Teen Town Hop (in Sweden). That’s a show, as you already might have figured out, with Teen Beat. When we had heard these guys, we knew who we wanted to join us at the Teen Town Hop and they did. Since then we have had a couple of shows together.
BJR. When did the band start performing live?
RE After a couple of months of rehearsals we started performing live in the summer 2013. It started out very well with shows around Sweden. Since then we have had gigs, both at big festivals and small parties
The new LP, check out last month's issue for a full review
BJR. Have you played live outside of Sweden?
RE Yes we have. Once.. In 2014 we had a tour in Belgium/Holland and that was a very good experience and a really nice week, when we got to meet a lot of new people and visit several new places.
BJR. With current restrictions (this interview was conducted in January 2021, during the Covid-19 pandemic), was that the time that you all thought was right to lay down some songs on record?
RE We actually started work on this album before the breakout of Covid -19 and haven’t been in a hurry, but the pandemic, of course, slowed the process down. It has been a good time to work on recordings, when you can’t meet a lot of people and do your shows. We also think this could be a perfect time to give our album out, cause we think people are starving for music and have to find other ways to listen to it than live.
BJR. It’s clearly very difficult to plan for the future at the moment, due to the pandemic, but do you have immediate or long-term plans and hopes for the band?
RE We had hoped for the world to go back to normal by now, but it seems that we have to wait a little longer. Right now we’re already planning for a new recording and keep having rehearsals to stay in shape and get even better. It has been a while since we met our audience and are really longing for that now. We would of course have had a great release party, for our new album “Find another fool” if it wasn’t for the Covid-19, but we have plans to have it ,when the situation with this pandemic is all over and safe for everyone. It would be nice to play outside Sweden again and maybe get the opportunity to go on some kind of a tour, together with the Velvet Candles. That would have been a great thing to do.
BJR. How can people contact you for future bookings or for information about your album and any upcoming projects
RE The best way to get in contact with us is via our Facebook page - Ramblin Ellie & The Bashtones or via e-mail [email protected] We will be happy to answer your questions
Like what you see so far? Help us keep it free by popping a donation over using the button below. Many thanks
RE Yes we have. Once.. In 2014 we had a tour in Belgium/Holland and that was a very good experience and a really nice week, when we got to meet a lot of new people and visit several new places.
BJR. With current restrictions (this interview was conducted in January 2021, during the Covid-19 pandemic), was that the time that you all thought was right to lay down some songs on record?
RE We actually started work on this album before the breakout of Covid -19 and haven’t been in a hurry, but the pandemic, of course, slowed the process down. It has been a good time to work on recordings, when you can’t meet a lot of people and do your shows. We also think this could be a perfect time to give our album out, cause we think people are starving for music and have to find other ways to listen to it than live.
BJR. It’s clearly very difficult to plan for the future at the moment, due to the pandemic, but do you have immediate or long-term plans and hopes for the band?
RE We had hoped for the world to go back to normal by now, but it seems that we have to wait a little longer. Right now we’re already planning for a new recording and keep having rehearsals to stay in shape and get even better. It has been a while since we met our audience and are really longing for that now. We would of course have had a great release party, for our new album “Find another fool” if it wasn’t for the Covid-19, but we have plans to have it ,when the situation with this pandemic is all over and safe for everyone. It would be nice to play outside Sweden again and maybe get the opportunity to go on some kind of a tour, together with the Velvet Candles. That would have been a great thing to do.
BJR. How can people contact you for future bookings or for information about your album and any upcoming projects
RE The best way to get in contact with us is via our Facebook page - Ramblin Ellie & The Bashtones or via e-mail [email protected] We will be happy to answer your questions
Like what you see so far? Help us keep it free by popping a donation over using the button below. Many thanks
Domino's March gig, click on the flyer for details
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Rearranged Rockabilly Blowout #7 for 2021
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cd and vinyl releases
All of the releases detailed below are available from Bim Bam Records. Click on the flyer for details
Eva Eastwood – Candy
CD Review
Swedish singer and songwriter Eva Eastwood (born Eva Östlund ) has delighted audiences for over twenty years now, along with her band the Major Keys. Her stage shows are energetic and accomplished, her song lyrics superbly crafted and musicianship delivered with expertise. Personally, I think it was when I first heard ‘Go Young Man’ I became a ‘fan’
‘Candy’, her latest album, maintains the incredibly high standard she has set, and there’s an argument to suggest it surpasses what has gone before. Well, that’s a debate you can all have if you want to, once you’ve delved into this veritable treasure chest of self-composed gems. The title track, ‘Candy’ also opens up the track listing, which is a bright and breezy, hand clapping, jive tempo with just the catchiest of beats. Next up ‘If Love Don’t Work on You’ an ode to a cheating lover, with a super cool, earthy, lower pitched sounding guitar hook. Loving the tempo on this one, readers.
‘Buzz’, offers a slight change in style, a kind of jazzy and R&B theme, with your classic call-and-answer ‘Get rid of that Buzz’ line throughout, and ace sax break. Another change of rhythm, and a slower shoo-bop-showaddy sound ‘True Love Minded’, with yearning lyrics, against harmony backing vocals. A question follows, ‘Is My Baby Happy Now’, a gorgeous piano and guitar driven harmony vocal, kind of in the Everly Brothers style. The rolling drum beat accompanying Eva’s gorgeous vocals is pure class, even though the subject matter of the lyrics is a little melancholy.
Moving on to ‘Meant To Be’, which sounds like it’s come straight out of the late fifties, one of those stroll sounds, with a vocal style that sticks in your mind for the three minutes it plays. Who doesn’t like ‘it’ ‘Old School’? Well, if you hear this number, you will. It’s a thumping Rockabilly number, heavy on slap bass with a real tear-up on lead guitar and piano. This takes no prisoners folks, a rollicking two and a half minutes.
Depending on whether you’re a romantic or an American Football fan ‘X’s and O’s’ will have a different meaning. I’ll suggest that Eva refers to the ‘hugs and kisses’ meaning in this number, which put us in mind of Neil Sedaka’s style (think ‘Calendar Girl’ maybe?). A bit of jump blues next? Don’t mind if we do, with ‘Eternally’, a bouncy and hopeful tune, with a declaration of love and optimistic lyrics. ‘You Changed Your Mind’ is another up-tempo rocker, the antithesis, lyrically to the previous song, with a ‘get lost’ attitude, to a Rockabilly beat.
Another surprise change of cadence next with ‘The Forgiver’. This has a real Country music vibe, in the Billie Jo Spears, or Loretta Lynn style. The lyrics and the vocals are simply sublime, readers. Finally, and somewhat pertinent to the quality of the album, a track called ‘Delight’. It’s a steady pulse beat, and employs a bewitching call-and-answer voiced style to a haunting guitar sound.
It would be easy to sum this review up with such cliches as, modern day classic, but you know what readers, that is exactly what this twelve-tracker is. There’s a sophistication to every track’s structure both musically and lyrically, and each one is delivered with precision. If you’re a fan already, this CD will be a definite for your collection, and if you’re new to Eva’s music, get this, you will not be disappointed. Outstanding
I’d like to dedicate this review to Mark ‘Ratty’ Rate, fellow fan, who after a live show, turned to us and said ‘You can never have enough Eva Eastwood in our life’. I won’t argue with that
CD Review
Swedish singer and songwriter Eva Eastwood (born Eva Östlund ) has delighted audiences for over twenty years now, along with her band the Major Keys. Her stage shows are energetic and accomplished, her song lyrics superbly crafted and musicianship delivered with expertise. Personally, I think it was when I first heard ‘Go Young Man’ I became a ‘fan’
‘Candy’, her latest album, maintains the incredibly high standard she has set, and there’s an argument to suggest it surpasses what has gone before. Well, that’s a debate you can all have if you want to, once you’ve delved into this veritable treasure chest of self-composed gems. The title track, ‘Candy’ also opens up the track listing, which is a bright and breezy, hand clapping, jive tempo with just the catchiest of beats. Next up ‘If Love Don’t Work on You’ an ode to a cheating lover, with a super cool, earthy, lower pitched sounding guitar hook. Loving the tempo on this one, readers.
‘Buzz’, offers a slight change in style, a kind of jazzy and R&B theme, with your classic call-and-answer ‘Get rid of that Buzz’ line throughout, and ace sax break. Another change of rhythm, and a slower shoo-bop-showaddy sound ‘True Love Minded’, with yearning lyrics, against harmony backing vocals. A question follows, ‘Is My Baby Happy Now’, a gorgeous piano and guitar driven harmony vocal, kind of in the Everly Brothers style. The rolling drum beat accompanying Eva’s gorgeous vocals is pure class, even though the subject matter of the lyrics is a little melancholy.
Moving on to ‘Meant To Be’, which sounds like it’s come straight out of the late fifties, one of those stroll sounds, with a vocal style that sticks in your mind for the three minutes it plays. Who doesn’t like ‘it’ ‘Old School’? Well, if you hear this number, you will. It’s a thumping Rockabilly number, heavy on slap bass with a real tear-up on lead guitar and piano. This takes no prisoners folks, a rollicking two and a half minutes.
Depending on whether you’re a romantic or an American Football fan ‘X’s and O’s’ will have a different meaning. I’ll suggest that Eva refers to the ‘hugs and kisses’ meaning in this number, which put us in mind of Neil Sedaka’s style (think ‘Calendar Girl’ maybe?). A bit of jump blues next? Don’t mind if we do, with ‘Eternally’, a bouncy and hopeful tune, with a declaration of love and optimistic lyrics. ‘You Changed Your Mind’ is another up-tempo rocker, the antithesis, lyrically to the previous song, with a ‘get lost’ attitude, to a Rockabilly beat.
Another surprise change of cadence next with ‘The Forgiver’. This has a real Country music vibe, in the Billie Jo Spears, or Loretta Lynn style. The lyrics and the vocals are simply sublime, readers. Finally, and somewhat pertinent to the quality of the album, a track called ‘Delight’. It’s a steady pulse beat, and employs a bewitching call-and-answer voiced style to a haunting guitar sound.
It would be easy to sum this review up with such cliches as, modern day classic, but you know what readers, that is exactly what this twelve-tracker is. There’s a sophistication to every track’s structure both musically and lyrically, and each one is delivered with precision. If you’re a fan already, this CD will be a definite for your collection, and if you’re new to Eva’s music, get this, you will not be disappointed. Outstanding
I’d like to dedicate this review to Mark ‘Ratty’ Rate, fellow fan, who after a live show, turned to us and said ‘You can never have enough Eva Eastwood in our life’. I won’t argue with that
Nobsters Beats Part One – CD compilation review
If you listen to the radio, in the traditional sense, you’ll probably be aware of Nobster’s Beats, a show of varied Rock ‘n’ Roll and Rockabilly music, often topping the listeners charts (Mixcloud etc). Here, a collaboration with Flat Top Mark, has produced the teasingly titled ‘Part One’ suggesting further delving into vaults and unearthing of treasure chests, containing gems like the twenty-eight tracks here.
Take ‘Boogie Chillun’ for example. Written and recorded by the great John Lee Hooker in 1948 on Modern Records. Since then, numerous versions (some by Hooker himself) and reworkings were recorded. Most notable on the Rock n Roll dancefloor, is the John Fred ‘Boogie Children’ from ’65 (the superior ‘B’ side to the rather dreary ‘My First Love’). The opening track on this compilation however, is from Dale Hawkins, retaining the Hooker pronunciation of ‘Chillun’. Some cool horn work on this, setting it apart from many other takes.
The musical comedy film ‘It’s Trad Dad’ from 1962, or ‘Ring a Ding’ in some parts of the world, featured one of the giants of Rock n Roll, Gene Vincent. There he was on screen, in white leather, performing a truncated version of ‘Spaceship to Mars’. Fear not, this is the complete version. I read somewhere that Gene didn’t really care for the song, and for a while it fell out of favour with DJs. A recent (in the past few years) it’s enjoyed a well-deserved renaissance.
Ernie Tucker and his Operators, relate the tale of the youngest of lovers, ‘Betty and Bobby’, who were apparently only five years of age. Their tale from 1961 is set to a jumping beat, and pretty much represents the band’s only record. Skip and Flip, were Gary Paxton and Clyde Battin, who also recorded as the Pledges, amongst a long line of different bands. ‘Fancy Nancy’ is one of those rhyming titles, that you can almost guess how it sounds. The guys produce a cool vocal harmony sound on the 1959 rock-out from 1959.
Those who are acquainted with the Scouts’ ‘Custer Stomp’ will be familiar with the hootin’ and hollerin’ of (officially) ‘Mr Custers Stomp’ from 1962, however this is the cleaner instrumental version from 1967, that has not only dropped the hollerin’, but the ‘Mr’ as well. Whatever, it’s a smashing guitar stroller. For pure joy, you’d be well advised to check out Annette Funicello’s ‘Dance Annette’ from 1961. Annette was discovered by Walt Disney in 1955, check out ‘The Adventures of Spin and Marty’ for example, and starred in a ton of films and TV shows until her death 2013 aged 70, with Multiple Sclerosis. In her younger days she made songs like this bouncy call and answer beauty.
I don’t know a great deal about Kenneth Earl’s ’40-30-40’, other than it’s quite the un-PC song lyrically. He celebrates his partners’ ‘ampleness’ shall we say, with the numbers pertaining to her vital statistics. Great beat though….. Speaking of beat, dreadful segue I know, the Rapiers. So long at the forefront of the British Rock n Roll sound, compared favourably to the Shadows and the Pirates, the Rapiers are a class act. From their 1985 album ‘Straight to the Point’ comes ‘Deep Feeling, their cover of Mike Sagar and the Cresters tune from 1960. As always, the Rapiers add their own twist to the sound, heavy on the reverb. Top stuff.
A dynamic guitar and sax instrumental from 1966 next, with the Clee-Shays’ revamping of Cliff’s ‘Dynamite’, giving it a surf sounding resonance. If you’ve ever been to a Rock n Roll club, the chances are you’d have encountered Simon Scott’s ‘Move It Baby’ from 1964 on Parlophone Records. A floor filling stroll tune, has a proven track record as a DJ winner. You’ve heard of ‘Tequila’ and ‘Margherita’, sax fronted instrumental rockers, well here’s ‘Cerveza’ from Boots Brown (the title translates as ‘beer’). Boots Brown was a pseudonym for jazz trumpet player Shorty Rogers, whose real name was actually Milton Michael Rajonsky. This is a cracking stroller in the Champs vein.
February 14th 1929, we are reminded at the start of ‘Drums Ago Go’, was the date of the St Valentine’s Day Massacre in North Clark Street, Chicago. The track is a thumping instrumental, naturally as the title suggests, heavily reliant on the drumbeat. And what a rollocking good surf sounding track it is from 1965. Dig it!! Misery, by the Dynamics, hailing out of Detroit Michigan, on Big Top Records from 1963 has a 60’s mod vibe to it.
William Randolph ‘Cozy’ Cole (1908 – 81) was a jazz drummer from East Orange, New Jersey. ‘Big Noise From Winnetka, Part One’ was the ‘A’ side of his 1962 Coral cut, with the ‘B’ side containing the remarkably similar ‘Part two’. Corking drum beat stroller this one, readers. From Baton Rouge, Louisiana, comes Jimmy Clanton, who has a pretty bulky back catalogue of releases, as well as appearing in the movies ‘Go Johnny Go’ and ‘Teenage Millionaire’. ‘Cindy’ was released in 1963 on Ace records, and is a pop/teen styled bright and breezy tune.
Paul Anka has had an incredible career in music from 1955 to the present day. I guess for 50’s lovers, ‘Diana’ is the best-known track of his, however he wrote ‘She’s a Lady’ for Tom Jones and ‘This is It’ with Michael Jackson. And he even had some time for acting too, playing himself in the Simpsons, among numerous TV and film appearances. On this CD we have ‘Uh Huh’ is a cheerful ditty from 1963, which is apparently categorised as ‘popcorn’, a genre of music I don’t know a great deal about. ‘Shake Shout and Go’ from ’64, 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).
Next up a familiar title, by a slightly lesser-known artist. ‘Ubangi Stomp’ was the ‘B’ side to his second of two single releases, this from ’62 on HMV. It’s a more frantic version that the Rockabilly romp by Warren Smith in ’56. Jimmy Dee and the Offbeats, had a single release on Dot Records (Gallatin Tennessee) in 1957. Other releases were credited to Dee as a single artist. Taken from the ‘A’ side, is ‘Henrietta’, a declaration of undying devotion, pronounced by Dee’s forceful vocal and rasping saxophone accompaniment, set to a stroll tempo.
Jack Wood’s ‘Born To Wander’ for some reason put be in mind of a cross between ‘Johnny Remember Me’ and the vocal style of Del Shannon. It’s from 1966, although could’ve come from a decade earlier. Wood’s vocal range is a delight, and the beat is very catchy on this one, folks. An instrumental next, well as good as, if you take out the repetition of the title throughout ‘Cha Kow Ski’ by the Pets, was a ‘B’ side from their 1958 single with ‘Cha Hua Hua’ on the ‘A’ side. Well what do you know, the afore mentioned Del Shannon appears, with, ‘Runaround Sue’. OK before the collective gasps that it’s a Dion song, this is Del’s version from a 1961 EP.
Robert John, had a monster Billboard #1 in the late 70’s with ‘Sad Eyes’. He had been recording since he was twelve years old though, as Bobby Pedrick Jr, and ‘Betty Blue Eyes’ from ’59 was on the ‘B’ side of his third release. It’s as removed from the ‘70’s stuff as you’d expect, both in tempo and demeanour. Cool jiver! Some more punchy, sax-driven surf sounds next, with the Rondels’ ‘Back Beat No.1’, cracking instrumental with a ‘Wipeout’ styled drum solo. Wave-tatstic folks.
Next cab off the rank is the R&B sound of pianist and songwriter Paul Gayten (1920-1991), and ‘It Ain’t Nothing Happening’, a forthright and bitter song, in which the vocals make it plain that the relationship is over, set to a hot R&B beat. That’s followed by a monster of a well-established dancefloor jiver, ‘Speechless’ by the Catalinas, sometimes known as Vince Murphy and the Catalinas. This smasher comes from 1958, recorded in Houston Texas, on the Back Beat label. Downstairs at the Rave at 2am anyone?
We’re closing in on the final couple of tracks now. A couple of Freddy Cannon tracks are already enshrined into dancehall folklore. Here’s one you don’t hear that often, ‘Little Bitty Corrine’ which he co-wrote, and recorded as a ‘B’ side in 1965. How to top off a quality compilation like this one? Well John Lee Hooker of course, with ‘I Wanna Ramble’. This is classic John Lee, from the early 60’s, the single chord boogie shuffle, drumbeat and his own distinctive lyrics, that pop up in a number of his great recordings. Class of the highest order
This play list was mixed and mastered by Flat Top Mark, who is also responsible for the artwork and packaging. The title has a limited copy press, so don’t hang about ordering yourself one, as they are already selling at a considerable rate. A top drawer release
If you listen to the radio, in the traditional sense, you’ll probably be aware of Nobster’s Beats, a show of varied Rock ‘n’ Roll and Rockabilly music, often topping the listeners charts (Mixcloud etc). Here, a collaboration with Flat Top Mark, has produced the teasingly titled ‘Part One’ suggesting further delving into vaults and unearthing of treasure chests, containing gems like the twenty-eight tracks here.
Take ‘Boogie Chillun’ for example. Written and recorded by the great John Lee Hooker in 1948 on Modern Records. Since then, numerous versions (some by Hooker himself) and reworkings were recorded. Most notable on the Rock n Roll dancefloor, is the John Fred ‘Boogie Children’ from ’65 (the superior ‘B’ side to the rather dreary ‘My First Love’). The opening track on this compilation however, is from Dale Hawkins, retaining the Hooker pronunciation of ‘Chillun’. Some cool horn work on this, setting it apart from many other takes.
The musical comedy film ‘It’s Trad Dad’ from 1962, or ‘Ring a Ding’ in some parts of the world, featured one of the giants of Rock n Roll, Gene Vincent. There he was on screen, in white leather, performing a truncated version of ‘Spaceship to Mars’. Fear not, this is the complete version. I read somewhere that Gene didn’t really care for the song, and for a while it fell out of favour with DJs. A recent (in the past few years) it’s enjoyed a well-deserved renaissance.
Ernie Tucker and his Operators, relate the tale of the youngest of lovers, ‘Betty and Bobby’, who were apparently only five years of age. Their tale from 1961 is set to a jumping beat, and pretty much represents the band’s only record. Skip and Flip, were Gary Paxton and Clyde Battin, who also recorded as the Pledges, amongst a long line of different bands. ‘Fancy Nancy’ is one of those rhyming titles, that you can almost guess how it sounds. The guys produce a cool vocal harmony sound on the 1959 rock-out from 1959.
Those who are acquainted with the Scouts’ ‘Custer Stomp’ will be familiar with the hootin’ and hollerin’ of (officially) ‘Mr Custers Stomp’ from 1962, however this is the cleaner instrumental version from 1967, that has not only dropped the hollerin’, but the ‘Mr’ as well. Whatever, it’s a smashing guitar stroller. For pure joy, you’d be well advised to check out Annette Funicello’s ‘Dance Annette’ from 1961. Annette was discovered by Walt Disney in 1955, check out ‘The Adventures of Spin and Marty’ for example, and starred in a ton of films and TV shows until her death 2013 aged 70, with Multiple Sclerosis. In her younger days she made songs like this bouncy call and answer beauty.
I don’t know a great deal about Kenneth Earl’s ’40-30-40’, other than it’s quite the un-PC song lyrically. He celebrates his partners’ ‘ampleness’ shall we say, with the numbers pertaining to her vital statistics. Great beat though….. Speaking of beat, dreadful segue I know, the Rapiers. So long at the forefront of the British Rock n Roll sound, compared favourably to the Shadows and the Pirates, the Rapiers are a class act. From their 1985 album ‘Straight to the Point’ comes ‘Deep Feeling, their cover of Mike Sagar and the Cresters tune from 1960. As always, the Rapiers add their own twist to the sound, heavy on the reverb. Top stuff.
A dynamic guitar and sax instrumental from 1966 next, with the Clee-Shays’ revamping of Cliff’s ‘Dynamite’, giving it a surf sounding resonance. If you’ve ever been to a Rock n Roll club, the chances are you’d have encountered Simon Scott’s ‘Move It Baby’ from 1964 on Parlophone Records. A floor filling stroll tune, has a proven track record as a DJ winner. You’ve heard of ‘Tequila’ and ‘Margherita’, sax fronted instrumental rockers, well here’s ‘Cerveza’ from Boots Brown (the title translates as ‘beer’). Boots Brown was a pseudonym for jazz trumpet player Shorty Rogers, whose real name was actually Milton Michael Rajonsky. This is a cracking stroller in the Champs vein.
February 14th 1929, we are reminded at the start of ‘Drums Ago Go’, was the date of the St Valentine’s Day Massacre in North Clark Street, Chicago. The track is a thumping instrumental, naturally as the title suggests, heavily reliant on the drumbeat. And what a rollocking good surf sounding track it is from 1965. Dig it!! Misery, by the Dynamics, hailing out of Detroit Michigan, on Big Top Records from 1963 has a 60’s mod vibe to it.
William Randolph ‘Cozy’ Cole (1908 – 81) was a jazz drummer from East Orange, New Jersey. ‘Big Noise From Winnetka, Part One’ was the ‘A’ side of his 1962 Coral cut, with the ‘B’ side containing the remarkably similar ‘Part two’. Corking drum beat stroller this one, readers. From Baton Rouge, Louisiana, comes Jimmy Clanton, who has a pretty bulky back catalogue of releases, as well as appearing in the movies ‘Go Johnny Go’ and ‘Teenage Millionaire’. ‘Cindy’ was released in 1963 on Ace records, and is a pop/teen styled bright and breezy tune.
Paul Anka has had an incredible career in music from 1955 to the present day. I guess for 50’s lovers, ‘Diana’ is the best-known track of his, however he wrote ‘She’s a Lady’ for Tom Jones and ‘This is It’ with Michael Jackson. And he even had some time for acting too, playing himself in the Simpsons, among numerous TV and film appearances. On this CD we have ‘Uh Huh’ is a cheerful ditty from 1963, which is apparently categorised as ‘popcorn’, a genre of music I don’t know a great deal about. ‘Shake Shout and Go’ from ’64, 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).
Next up a familiar title, by a slightly lesser-known artist. ‘Ubangi Stomp’ was the ‘B’ side to his second of two single releases, this from ’62 on HMV. It’s a more frantic version that the Rockabilly romp by Warren Smith in ’56. Jimmy Dee and the Offbeats, had a single release on Dot Records (Gallatin Tennessee) in 1957. Other releases were credited to Dee as a single artist. Taken from the ‘A’ side, is ‘Henrietta’, a declaration of undying devotion, pronounced by Dee’s forceful vocal and rasping saxophone accompaniment, set to a stroll tempo.
Jack Wood’s ‘Born To Wander’ for some reason put be in mind of a cross between ‘Johnny Remember Me’ and the vocal style of Del Shannon. It’s from 1966, although could’ve come from a decade earlier. Wood’s vocal range is a delight, and the beat is very catchy on this one, folks. An instrumental next, well as good as, if you take out the repetition of the title throughout ‘Cha Kow Ski’ by the Pets, was a ‘B’ side from their 1958 single with ‘Cha Hua Hua’ on the ‘A’ side. Well what do you know, the afore mentioned Del Shannon appears, with, ‘Runaround Sue’. OK before the collective gasps that it’s a Dion song, this is Del’s version from a 1961 EP.
Robert John, had a monster Billboard #1 in the late 70’s with ‘Sad Eyes’. He had been recording since he was twelve years old though, as Bobby Pedrick Jr, and ‘Betty Blue Eyes’ from ’59 was on the ‘B’ side of his third release. It’s as removed from the ‘70’s stuff as you’d expect, both in tempo and demeanour. Cool jiver! Some more punchy, sax-driven surf sounds next, with the Rondels’ ‘Back Beat No.1’, cracking instrumental with a ‘Wipeout’ styled drum solo. Wave-tatstic folks.
Next cab off the rank is the R&B sound of pianist and songwriter Paul Gayten (1920-1991), and ‘It Ain’t Nothing Happening’, a forthright and bitter song, in which the vocals make it plain that the relationship is over, set to a hot R&B beat. That’s followed by a monster of a well-established dancefloor jiver, ‘Speechless’ by the Catalinas, sometimes known as Vince Murphy and the Catalinas. This smasher comes from 1958, recorded in Houston Texas, on the Back Beat label. Downstairs at the Rave at 2am anyone?
We’re closing in on the final couple of tracks now. A couple of Freddy Cannon tracks are already enshrined into dancehall folklore. Here’s one you don’t hear that often, ‘Little Bitty Corrine’ which he co-wrote, and recorded as a ‘B’ side in 1965. How to top off a quality compilation like this one? Well John Lee Hooker of course, with ‘I Wanna Ramble’. This is classic John Lee, from the early 60’s, the single chord boogie shuffle, drumbeat and his own distinctive lyrics, that pop up in a number of his great recordings. Class of the highest order
This play list was mixed and mastered by Flat Top Mark, who is also responsible for the artwork and packaging. The title has a limited copy press, so don’t hang about ordering yourself one, as they are already selling at a considerable rate. A top drawer release
Billy Adams – Repro 45
Rockabilly Hall of Famer Billy Adams (Willie Murray Adams 1940-2019) recorded some of the most anthemic Rockabilly tracks in a career that took him to labels like Dot, Capitol and Decca. Here are two such tracks on the Quincy label out of Kentucky
On the ‘A’ side is the seminal classic ‘Rock Pretty Mama’, originally recorded in 1955 and released in ’57. It’s classic in every way, acoustic guitar opening, then thumping doghouse bass and drums with Adams vocal delivery en pointe.
On the other side, another beauty, ‘You Gotta Have a Ducktail’, which back in the day as youngsters, was once a prerequisite, as was the imitation of the bass vocal that opens up the track. Loving the full sound on this cracker.
Rockabilly Hall of Famer Billy Adams (Willie Murray Adams 1940-2019) recorded some of the most anthemic Rockabilly tracks in a career that took him to labels like Dot, Capitol and Decca. Here are two such tracks on the Quincy label out of Kentucky
On the ‘A’ side is the seminal classic ‘Rock Pretty Mama’, originally recorded in 1955 and released in ’57. It’s classic in every way, acoustic guitar opening, then thumping doghouse bass and drums with Adams vocal delivery en pointe.
On the other side, another beauty, ‘You Gotta Have a Ducktail’, which back in the day as youngsters, was once a prerequisite, as was the imitation of the bass vocal that opens up the track. Loving the full sound on this cracker.
Elroy Dietzel – Repro 45
Jack Rhodes is mentioned elsewhere in these reviews, as co-writer, and indeed he has a hand in both these tracks on the Bo-Kay label from Lamesa, Texas.
Elroy Dietzel and the Rhythm Bandits haven’t got the largest back catalogue, however this twin spin is a treat. ‘Rockin’ Bones’ is a dancefloor winning stroller by Dietzel, which was also recorded by Ronnie Dawson, to a different beat.
Over on the ‘B’ side, it’s ‘Shang-Hai Rock’, a cool toe tapper, set to two beats in a start-stop fashion. Today, this would’ve been a double ‘A’ side I reckon, as both tracks are beauties
Jack Rhodes is mentioned elsewhere in these reviews, as co-writer, and indeed he has a hand in both these tracks on the Bo-Kay label from Lamesa, Texas.
Elroy Dietzel and the Rhythm Bandits haven’t got the largest back catalogue, however this twin spin is a treat. ‘Rockin’ Bones’ is a dancefloor winning stroller by Dietzel, which was also recorded by Ronnie Dawson, to a different beat.
Over on the ‘B’ side, it’s ‘Shang-Hai Rock’, a cool toe tapper, set to two beats in a start-stop fashion. Today, this would’ve been a double ‘A’ side I reckon, as both tracks are beauties
Jess Hooper – Repro 45
A number of rumours abound about this release on the Meteor Record label (Memphis Tennessee). One was that this was Charlie Feathers, and the other that Billy Lee Riley played lead guitar.
This classic Rockabilly two sider is Jess Hooper, who is accompanied by the Daydreamers, who also played along with Jimmy Haggett and Bud Deckleman for the label. Both the songs on this repro of the original, are of similar construction and tempo. ‘All Messed Up’ and ‘Sleepy Time Blues’ have that primitive bopper sound, and are already established dancefloor winners
A number of rumours abound about this release on the Meteor Record label (Memphis Tennessee). One was that this was Charlie Feathers, and the other that Billy Lee Riley played lead guitar.
This classic Rockabilly two sider is Jess Hooper, who is accompanied by the Daydreamers, who also played along with Jimmy Haggett and Bud Deckleman for the label. Both the songs on this repro of the original, are of similar construction and tempo. ‘All Messed Up’ and ‘Sleepy Time Blues’ have that primitive bopper sound, and are already established dancefloor winners
Jim McDonald – repro 45rpm
Up until 1958, Jim McDonald’s recorded output was in the country-hillbilly style, however in 1958, he recorded an absolute cracker of a Rockabilly track, on the KCM Record label. KCM stands for Kansas City Musicians, and the label is now defunct, this being pressed originally by RCA.
‘Let’s Have a Ball’ is one of those teenage themed rockers, demonstrating the love of, the weekend, music, dates and romance, set to a top-drawer Rockabilly beat. The ‘B’ side ‘My Heart Needs Breakin’ is an angsty, young love, heartbreaker, about the inevitable consequences of cheating
Here ends a long wait for this to be on a repro
Up until 1958, Jim McDonald’s recorded output was in the country-hillbilly style, however in 1958, he recorded an absolute cracker of a Rockabilly track, on the KCM Record label. KCM stands for Kansas City Musicians, and the label is now defunct, this being pressed originally by RCA.
‘Let’s Have a Ball’ is one of those teenage themed rockers, demonstrating the love of, the weekend, music, dates and romance, set to a top-drawer Rockabilly beat. The ‘B’ side ‘My Heart Needs Breakin’ is an angsty, young love, heartbreaker, about the inevitable consequences of cheating
Here ends a long wait for this to be on a repro
Jimmy Johnson – Repro 45
This particular Jimmy Johnson, was a country singer from Smith County in Texas, and was principal vocalist for Jack Rhodes’ band. Rhodes was credited with co-writing the ‘A’ side of this 45rpm and sole writer for the ‘B’ side. The single was released by Starday records in 1956, and is exceptionally rare in it’s original for, with copies exchanging hands for thousands of pounds/dollars
The ‘A’ side is a corking Rockabilly romp ‘All Dressed Up’. The instrument backing is basic, guitars and bass, with the vocals simplistic but massively effective. The ’B’ side is the original ‘Woman Love’, which many will be familiar, as the Gene Vincent flip to ‘Be Bop a Lula’. It’s primitive and basic, raw and wonderful, all in it’s two and a half delightful minutes
This particular Jimmy Johnson, was a country singer from Smith County in Texas, and was principal vocalist for Jack Rhodes’ band. Rhodes was credited with co-writing the ‘A’ side of this 45rpm and sole writer for the ‘B’ side. The single was released by Starday records in 1956, and is exceptionally rare in it’s original for, with copies exchanging hands for thousands of pounds/dollars
The ‘A’ side is a corking Rockabilly romp ‘All Dressed Up’. The instrument backing is basic, guitars and bass, with the vocals simplistic but massively effective. The ’B’ side is the original ‘Woman Love’, which many will be familiar, as the Gene Vincent flip to ‘Be Bop a Lula’. It’s primitive and basic, raw and wonderful, all in it’s two and a half delightful minutes
Jimmy Work, Charlie Feathers – repro 45
Here’s smashing twin spin from the Double A record label, pairing two top drawer tracks together.
Jimmy Work’s self-penned ‘Tennessee Border’ has a simple rhythm and beat, and with ‘Her eyes were blue, her hair was auburn’, one of the great opening lines. It’s a song that has been covered many times, this is one of the best. It was originally released on the All Record label in 1959.
Charlie Feathers 1932-98, known for some of the greatest Rockabilly dance floor tracks, appears on the other side with a 1955 track, ‘Peepin’ Eyes’. This is a western bop sound heavy on the fiddle, a real beauty, from his early catalogue
Here’s smashing twin spin from the Double A record label, pairing two top drawer tracks together.
Jimmy Work’s self-penned ‘Tennessee Border’ has a simple rhythm and beat, and with ‘Her eyes were blue, her hair was auburn’, one of the great opening lines. It’s a song that has been covered many times, this is one of the best. It was originally released on the All Record label in 1959.
Charlie Feathers 1932-98, known for some of the greatest Rockabilly dance floor tracks, appears on the other side with a 1955 track, ‘Peepin’ Eyes’. This is a western bop sound heavy on the fiddle, a real beauty, from his early catalogue
Johnny Carroll – repro 45
John Lewis Carrell (1937-1995), known as Johnny Carroll, due to a mis-spelling on the record labels, recorded some of the best-known Rockabilly tracks ever, and his mid-50’s music is probably the soundtrack to many a fifty-something’s youth.
Here, and away from the Decca ’56 best knowns, Mabel’s Record Company, have paired two songs from different singles, from 1959 on the same record. Both were originally released on Warner Brothers Records.
Hearing these ‘cold’ so to speak, you could be forgiven for thinking they were Gene Vincent. Indeed, Carroll and Gene worked together in Dallas in the late ’50’s and he also wrote ‘Maybe’ for Gene.
‘Sugar Baby’, initially appeared as just ‘Sugar’ as an ‘A’ side, and has a ‘Money Honey’ vibe along with a stinging guitar solo, set to a stroll beat. On the flip, ‘The Swing’, which was the ‘B’ side to ‘Bandstand Doll’, reviewed elsewhere in this issue. This is also a moody stroller with a hefty chunk of ‘Hey hey hey’ thrown in shout-back stylie
John Lewis Carrell (1937-1995), known as Johnny Carroll, due to a mis-spelling on the record labels, recorded some of the best-known Rockabilly tracks ever, and his mid-50’s music is probably the soundtrack to many a fifty-something’s youth.
Here, and away from the Decca ’56 best knowns, Mabel’s Record Company, have paired two songs from different singles, from 1959 on the same record. Both were originally released on Warner Brothers Records.
Hearing these ‘cold’ so to speak, you could be forgiven for thinking they were Gene Vincent. Indeed, Carroll and Gene worked together in Dallas in the late ’50’s and he also wrote ‘Maybe’ for Gene.
‘Sugar Baby’, initially appeared as just ‘Sugar’ as an ‘A’ side, and has a ‘Money Honey’ vibe along with a stinging guitar solo, set to a stroll beat. On the flip, ‘The Swing’, which was the ‘B’ side to ‘Bandstand Doll’, reviewed elsewhere in this issue. This is also a moody stroller with a hefty chunk of ‘Hey hey hey’ thrown in shout-back stylie
Kenny Parchman – Repro 45rpm
Kenny Parchman (1932-1999) was a recording artist at Sun records that didn’t seem to have the greatest luck in his early career. He recorded ‘Love Crazy Baby’ and ‘I Feel Like Rockin’ that weren’t released, and spent two more years recording without any record release.
Here is a super double stack Sun repro 45rpm with two of his best Rockabilly tracks. ‘Tennessee Zip’ was written by Parchman himself, a bop along tempo with an authentic sound that would grace any dancefloor.
The flip has the afore mentioned ‘I Feel Like Rockin’, a super cool call-and-answer piano and guitar driven rocker.
Kenny Parchman (1932-1999) was a recording artist at Sun records that didn’t seem to have the greatest luck in his early career. He recorded ‘Love Crazy Baby’ and ‘I Feel Like Rockin’ that weren’t released, and spent two more years recording without any record release.
Here is a super double stack Sun repro 45rpm with two of his best Rockabilly tracks. ‘Tennessee Zip’ was written by Parchman himself, a bop along tempo with an authentic sound that would grace any dancefloor.
The flip has the afore mentioned ‘I Feel Like Rockin’, a super cool call-and-answer piano and guitar driven rocker.
The Sirocco Brothers – 45rpm release
Mrs Mainwaring, Maris Crane, Vera Peterson, Charlie in Charlie’s Angels. They ain’t rockin’ what’s the matter here. Well, they are all a little like the mysterious band The Sirocco Brothers, you know them, you know they are there, but you never really see them. We know the Sirocco Brothers from a string of mighty rockers they’ve released, and here’s another.
Their subject matter, often covers spooky, furtive and shadowy themes as well as voodoo and curiously crafted lyrics
Side ‘A’ ‘Jungle Stomp’, put simply, is a kick-a*se Rockabilly bopper, with a throbbing beat and a searing guitar break. The beat to the late-night dancefloor if ever we’ve heard it
Flip over to the ‘B’ side and it’s ‘Haunted Guitar’, a heavily reverbed rocker, that could’ve come out of a vault sealed up in 1958. It has a bit of a ‘Warrior Sam’ feel to it, in its delivery.
Selling like hot cakes apparently readers
Mrs Mainwaring, Maris Crane, Vera Peterson, Charlie in Charlie’s Angels. They ain’t rockin’ what’s the matter here. Well, they are all a little like the mysterious band The Sirocco Brothers, you know them, you know they are there, but you never really see them. We know the Sirocco Brothers from a string of mighty rockers they’ve released, and here’s another.
Their subject matter, often covers spooky, furtive and shadowy themes as well as voodoo and curiously crafted lyrics
Side ‘A’ ‘Jungle Stomp’, put simply, is a kick-a*se Rockabilly bopper, with a throbbing beat and a searing guitar break. The beat to the late-night dancefloor if ever we’ve heard it
Flip over to the ‘B’ side and it’s ‘Haunted Guitar’, a heavily reverbed rocker, that could’ve come out of a vault sealed up in 1958. It has a bit of a ‘Warrior Sam’ feel to it, in its delivery.
Selling like hot cakes apparently readers
The Chavis Brothers – repro 45
The Chavis Brothers were made up of Danny, Earl, Frank, James, and Ernie and were from North Carolina. They recorded this kicking Rockabilly bopper ‘Love Me Baby’ written by Danny Chavis, on Big Top records in New York in 1959. This is one of those late-night tracks, guaranteed to fill a dancefloor, it has your classic rhythm guitar and bass driven beat, and characteristic pleading lover lyrics.
On the flip, a cover of Hank Williams’ ‘Hey Good Lookin’, and a darn fine one too. Vocal harmonies and a ‘bom bom bom’ tempo. It’s a hopped version from the original and is really effective, even though only a minute and three quarters duration.
A tip top pairing of songs for DJs and music lovers alike
The Chavis Brothers were made up of Danny, Earl, Frank, James, and Ernie and were from North Carolina. They recorded this kicking Rockabilly bopper ‘Love Me Baby’ written by Danny Chavis, on Big Top records in New York in 1959. This is one of those late-night tracks, guaranteed to fill a dancefloor, it has your classic rhythm guitar and bass driven beat, and characteristic pleading lover lyrics.
On the flip, a cover of Hank Williams’ ‘Hey Good Lookin’, and a darn fine one too. Vocal harmonies and a ‘bom bom bom’ tempo. It’s a hopped version from the original and is really effective, even though only a minute and three quarters duration.
A tip top pairing of songs for DJs and music lovers alike
Tooter Boatman, Johnny Carroll – repro 45
Here’s another top twin spin from the Double A record label that pairs an out and out rocker with a haunting melody.
The delightfully named Tooter Boatman (real name William McCon Boatman Jr) recorded on the equally delightfully named Twinkle Records out of Stephenville, Texas. ‘The Will Of Love’ has everything, frantic drumming, thump-ticking bass and a rattlingly good beat. Even the whistling during the instro break fits like a glove. A classic Rockabilly track that has enjoyed similar air-play to ‘Thunder and Lightning’, as dance floor bop tracks.
Johnny Carroll, known for his breathless Rockabilly tracks, appears here with an almost spooky sounding track ‘Bandstand Doll’, he wrote himself, originally an ‘A’ side on Warner Brothers Records, in 1959.
Here’s another top twin spin from the Double A record label that pairs an out and out rocker with a haunting melody.
The delightfully named Tooter Boatman (real name William McCon Boatman Jr) recorded on the equally delightfully named Twinkle Records out of Stephenville, Texas. ‘The Will Of Love’ has everything, frantic drumming, thump-ticking bass and a rattlingly good beat. Even the whistling during the instro break fits like a glove. A classic Rockabilly track that has enjoyed similar air-play to ‘Thunder and Lightning’, as dance floor bop tracks.
Johnny Carroll, known for his breathless Rockabilly tracks, appears here with an almost spooky sounding track ‘Bandstand Doll’, he wrote himself, originally an ‘A’ side on Warner Brothers Records, in 1959.
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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, Ray Gelato, Flat Top Mark, 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
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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, Ray Gelato, Flat Top Mark, 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]
https://www.linkedin.com/in/andrew-smith-b626aa63/
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
