the bettajive review Magazine #17
What's John Lewis looking surprised about? Read on and check out our review of his latest show. Yes our magazine is a little later than usual, apologies for that loyal readers. We have two interviews this time, with Boston Jive and Damo & the Dynamites. We review three smashing CD releases, one from Wild Records, and the latest from FTM. All that a whole lot more.
We are in the UK as many of you know. Our current situation still means that we have no live gigs to go to and review for you. Our restrictions have relaxed slightly (get yer haircut!), as has the government advice, here is the latest at the time of writing
We are in the UK as many of you know. Our current situation still means that we have no live gigs to go to and review for you. Our restrictions have relaxed slightly (get yer haircut!), as has the government advice, here is the latest at the time of writing
the bettajive review
Et tu Brute. About the only thing I can recall from this one we studied
The Bettajive Review
Shall I compare thee to a Summer’s day? Go on then, get it out of your systems, ‘what’s he on about, this ain’t rockin’ 😊 To elucidate. A little while ago, there was a story about the possibility of rap lyrics being used in the school curriculum as part of literature & language study, along with the works of Shakespeare, Charles Dickens, Keats and Chaucer. It got me thinking about the poetry in Rock n Roll and music associated with our scene.
Well why not? Who was to say that William Shakespeare* wasn’t ridiculed when he first wrote “Cease to persuade, my loving Proteus”. Imagine the play viewing scene in 1592, a rowdy bunch of rumbustious, ruddy faced types, full of mead, partridge, woodcock and butter rich pastries, “Cease to persuade??? What sort of falderdash speaks this buffoonish bard? And how we guffaw heartily at such names as ‘Proteus’…A ha ha ha” Followed by ‘All, holding bellies and throwing their heads back’ “A ha ha ha”. Sounds extreme maybe, but these centuries later, the words of Shakespeare are regarded as the most significant in the English language (except when being droned into you, when you’re fifteen in school. It’s a good cure for insomnia).
Indeed, the fffffff, hang on a minute, fffff folk song, ‘Greensleeves’ was around at the same time, and might have induced such micky taking merriment, especially as some interpretations suggest the lyrics pertain to……….. It’s rather tenuous though….
Now the suggestion of using rap lyrics in schools. Peeps of our age will probably recall the Sugar Hill Gang’s ‘Rapper’s Delight’ from 1979 (curious how I know a lot of the words to this, but not where I left my keys five seconds ago!). This was a pioneering tune introducing the world to hip-hop. Many latter-day rap and hip hop sings are indeed poetic, they scan, and are basically a collection of rhyming couplets, although the actual content of some of it may not be as suitable as initial thoughts would advocate. Some actively encourage doing unspeakable things to your mother, shooting up stuff with guns, and giving nicey nicey names to various body parts. But what may be idiotic to some, is poetry to others.
Shall I compare thee to a Summer’s day? Go on then, get it out of your systems, ‘what’s he on about, this ain’t rockin’ 😊 To elucidate. A little while ago, there was a story about the possibility of rap lyrics being used in the school curriculum as part of literature & language study, along with the works of Shakespeare, Charles Dickens, Keats and Chaucer. It got me thinking about the poetry in Rock n Roll and music associated with our scene.
Well why not? Who was to say that William Shakespeare* wasn’t ridiculed when he first wrote “Cease to persuade, my loving Proteus”. Imagine the play viewing scene in 1592, a rowdy bunch of rumbustious, ruddy faced types, full of mead, partridge, woodcock and butter rich pastries, “Cease to persuade??? What sort of falderdash speaks this buffoonish bard? And how we guffaw heartily at such names as ‘Proteus’…A ha ha ha” Followed by ‘All, holding bellies and throwing their heads back’ “A ha ha ha”. Sounds extreme maybe, but these centuries later, the words of Shakespeare are regarded as the most significant in the English language (except when being droned into you, when you’re fifteen in school. It’s a good cure for insomnia).
Indeed, the fffffff, hang on a minute, fffff folk song, ‘Greensleeves’ was around at the same time, and might have induced such micky taking merriment, especially as some interpretations suggest the lyrics pertain to……….. It’s rather tenuous though….
Now the suggestion of using rap lyrics in schools. Peeps of our age will probably recall the Sugar Hill Gang’s ‘Rapper’s Delight’ from 1979 (curious how I know a lot of the words to this, but not where I left my keys five seconds ago!). This was a pioneering tune introducing the world to hip-hop. Many latter-day rap and hip hop sings are indeed poetic, they scan, and are basically a collection of rhyming couplets, although the actual content of some of it may not be as suitable as initial thoughts would advocate. Some actively encourage doing unspeakable things to your mother, shooting up stuff with guns, and giving nicey nicey names to various body parts. But what may be idiotic to some, is poetry to others.
One of the modern day lyricists, Scotty Baker
If you listen to some of Chuck Berry’s lyrics for example, like the line in ‘Memphis Tennessee’ “Last time I saw Marie she's waving me good-bye With hurry home drops on her cheek that trickled from her eye”. Brilliant you’ll agree I’m sure. Johnny Cash’s story length songs like ’25 Minutes To Go’, ‘A Boy Named Sue’ and ‘Hey Porter’, and bringing it up to date, check out Scotty Baker’s lyrics in ‘Just Like That’, or Steve Russell of the erstwhile Slingshots, and the immenseness of ‘Green Eyed Monster’ and ‘The Things You Do’, somehow getting homeopathy, Dr Who and a reference to Elvis living in Hartlepool in the same song .
Then the argument could be made, that quite a bit of ‘40’s and ‘50’s material had suggestive lyrics, almost like rap? Take material like the original ‘Shake Rattle and Roll’, the Joe Turner version. It may seem a bit saucy postcard, by today’s standards, but it was so salacious at the time, if you notice, Big Joe actually slurs some of the words, maybe to get by the censors? Bill Haley’s version was ‘cleaned up’ for the more prudish audience at the time.
If you listen to a lot of R&B, the use of the words ‘Rock n Roll’ elude to the carnal act, not the twelve bar music style. Using analogies from most of our youths, the nudge-nudge, ooo matron, titter ye not, Sidney James ‘ya ha ha ha’, sliding whistle undercurrent in these songs, referred to as ‘Risqué’, was completely lost on me as a young fella. All that Wynonie Harris ‘Keep on Churnin’ and ‘I Like My Baby’s Pudding’, was nothing to do with dairy commodities or the production of desserts it seems. Mabel Scott’s request that you ‘Get your bat ready Baby’ wasn’t about Baseball, despite being called ‘Baseball Boogie’, the bat was…..erm….and ‘home run’ meant…erm….*asthmatic cough*…..Check out the stories in Louis Jordan’s ‘Saturday Night Fish Fry’ as well readers
Mind you if you had orators like Stephen Fry or Simon Callow reading the words out to Year 10 in assembly, they would sound poetic and Shakespearian. Seeing the words on paper would mean less than the inflections the vocal delivery would provide. Read in the right way, virtually anything could sound like a double entendre!
Or better still imagine spectacles on the end of the nose, and their booming out ‘Bi Bickey Bi Bo Bo’, or ‘Yama Yama Pretty Mama’, or Screamin’ Jay Hawkins’ ‘Little Demon’. Oh yeah, it’s got to happen, purely for the entertainment value.
Is there really that much of a difference between the lyrics of Tinie Tempah and Tiny Topsy? Dr. Dre and Doctor Ross? Cecil Day-Lewis or Jerry Lee Lewis? I don’t know, but it would have made English literature considerably more bearable than the snore-fest I recall. I commend the idea to the house J
Then the argument could be made, that quite a bit of ‘40’s and ‘50’s material had suggestive lyrics, almost like rap? Take material like the original ‘Shake Rattle and Roll’, the Joe Turner version. It may seem a bit saucy postcard, by today’s standards, but it was so salacious at the time, if you notice, Big Joe actually slurs some of the words, maybe to get by the censors? Bill Haley’s version was ‘cleaned up’ for the more prudish audience at the time.
If you listen to a lot of R&B, the use of the words ‘Rock n Roll’ elude to the carnal act, not the twelve bar music style. Using analogies from most of our youths, the nudge-nudge, ooo matron, titter ye not, Sidney James ‘ya ha ha ha’, sliding whistle undercurrent in these songs, referred to as ‘Risqué’, was completely lost on me as a young fella. All that Wynonie Harris ‘Keep on Churnin’ and ‘I Like My Baby’s Pudding’, was nothing to do with dairy commodities or the production of desserts it seems. Mabel Scott’s request that you ‘Get your bat ready Baby’ wasn’t about Baseball, despite being called ‘Baseball Boogie’, the bat was…..erm….and ‘home run’ meant…erm….*asthmatic cough*…..Check out the stories in Louis Jordan’s ‘Saturday Night Fish Fry’ as well readers
Mind you if you had orators like Stephen Fry or Simon Callow reading the words out to Year 10 in assembly, they would sound poetic and Shakespearian. Seeing the words on paper would mean less than the inflections the vocal delivery would provide. Read in the right way, virtually anything could sound like a double entendre!
Or better still imagine spectacles on the end of the nose, and their booming out ‘Bi Bickey Bi Bo Bo’, or ‘Yama Yama Pretty Mama’, or Screamin’ Jay Hawkins’ ‘Little Demon’. Oh yeah, it’s got to happen, purely for the entertainment value.
Is there really that much of a difference between the lyrics of Tinie Tempah and Tiny Topsy? Dr. Dre and Doctor Ross? Cecil Day-Lewis or Jerry Lee Lewis? I don’t know, but it would have made English literature considerably more bearable than the snore-fest I recall. I commend the idea to the house J
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Dot….dot Best tracks in the world ever ever to seviche your salmon for this month are Little Richard’s ‘Hey Hey Hey Hey’, ‘Brown Eyed Girl’ by Hal Andrews and ‘Rang Tang Ding Dong (I am the Japanese Sandman)’ by the Cellos….. We seriously still going to bother with the Eurovision Song Contest? For Royaume-Uni, is like giving CPR to rump steak and expecting a positive result..... ‘Things that even ‘56 Elvis couldn’t look cool doing’ for this month, getting in your car with the keys still in your pocket, and trying to get them out while remaining seated….. Please readers, I know the ‘Summers Day’ quote from Shakespeare is from a sonnet, not a play, save yourselves a damning Facebook status….Last year, Maggie Sampford, paused her magazine Maggie’s Blue Suede News, initially for three months due to the Covid-19 pandemic. We read now that she has decided to not restart the magazine and after twenty five years, has decided to call it a day. We congratulate Maggie on a quarter of a century of dedication to the Rock n Roll scene and wish her a happy retirement……With that in mind, the announcement went that her daughter Shelley is taking over the title, and we wish her the very best too……….Dear oh dear, isn’t weekend TV dreary, clear off covid, need to get out and away from this anodyne pap…….The Black Kat Boppers are back in business with a kicker of a track ‘Billy Billy’, with vocalist Roy Phillips on finest form. Check it out on social media……OK, this time last year, we wanted to ban the word ‘unprecedented’. This year, it’s the phrase ‘We’re not out of the woods yet’. I thank you.
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DJ Wildgoner from Germany
It looks like…. Maybe, just maybe there’s a chink of light that we in the UK might be coming out of the Covid-19 situation (we accept no responsibility for not so doing!) This month feels just like the same month in 2020, but we have toilet roll, pasta, flour, eggs and Thistle Multifinish (the last one is a trade shortage!). Ludicrously long hair, furlough fuzz, those that regularly have theirs coloured, now look like they are wearing a white skull cap, all met the relevant ends in the UK after April 12th. Yes readers, maybe the Instgram images of a nervous male wrapped in a table cloth, with his other half, clippers in hand and a rather maniacal look on her face, have seen their day. We can but hope. If those guys could have seen the selfie of their other half before the cut, their eyes like saucers, and an air of almost lunatic revenge, the chairs would have probably emptied and the guys would be running like Forrest Gump.
Thee Vanessa Holmes Show
Various anniversaries have come and gone since the last issue, a year since our last indoor, restriction free, gig. A year since a national lockdown was enforced. And many of the online DJs have been presenting shows for that year as well. We have seen so many, and here is a roll call of those we’ve listened to over the last twelve months (and indeed recently).
I believe the first was Thee Vanessa Holmes show, celebrating Vanessa’s birthday, with Flat Top Dave spinning the sounds. During the year, there were occasions when the restrictions were lifted and others appeared, but the same date a year later, we are back down to another birthday in isolation. The original ‘Back, back, back’, chant came from those earliest shows.
Cat Talk Lee Russell, originally started his shows on Thursday afternoons, then owning Thursday evenings, spawning the Cactus Club. Appreciation for tunes and shows was shown by the number of cactus emojis, and as I put the finishing touches to this magazine, the Cactus Club event, with multiple DJs is in full flow.
Another one-year milestone was passed by Rockin Roland in Norfolk. Each week there’s a different theme to the show. ‘It’s a Rockabilly World’, ‘Love is in the Air’ for Valentine’s Day, ‘Rockabilly Tornado’ which ran over two weeks covering the bands that played at The Starfighter Club, and ‘Black Smoke, Blue Tears’, songs about trains, to name a few.
Got to give a mention to Simon Flintstone in the caves of Wales, who’s also been there from the start, the prototypical vinyl showcase
Deep breath, here are some of the others who have gone live, either solo, or in events like the Lockdown Rockin Weekender, DJ Domino’s Lockdown Rockin Jamboree or the afore mentioned Cactus Club events. And not to forget the radios shows as well.
Jay Cee in France has been a delight for around a year on Saturday afternoons. Dave Mumbles, Double Trouble, Robin Summerfield, DJ Wildgoner from Germany, the ever-present Danny Brown, El Nova in America, Rob Popp from Germany, Andy Munday from his spare room, Courtney Oakes, John Macleod, Simon Preacher, Steve Stack o Wax, Craig Simpson, FatKat and Julie, Adrian Waters, Little Carl and Joe Newbon, along with Be Bop Kaz, Bill and George Guntrip, Vanessa Sondheim, Tojo, Steve Cunningham, Lady Luck Lexy, Ruby Ann, The Nobster, and Marc Valentine on the radio.
All excellent, but we long to be in a hall with them all blasting out tunes live! There are certain unwritten protocols to being an online live DJ presenting a set. Here is a none-too- serious look at what you need to do….
Have set of double decks set up in a room choc-full of records, posters and musical instruments. Wear the coolest headgear at a jaunty angle and position your glasses at the opposing angle. Switch on coloured lighting. Play vinyl. Randomly shout at people joining your feed. Hold up the next record close to the camera, even though the image we see, is backwards. Shout ‘yeeeaaah’ a lot. Drink only from a bottle. Bounce. Cheat the social media red light by cutting your feed, before they do. Squint at the scrolling comments. Play Gene Vincent. Tell everyone to tune in to your next show 😊
To watch, you must use multiple emojis, explosions, fire, cacti, various vegetables and fruit, clapping and thumbs-up. You should be able to tell which label a song was issued on, who played bass and how long the run off is. Write favourable words with additional vowels to express your mounting appreciation, eg, ‘tuuuuuuuuuuune’ or ‘chooooon’. Express your appreciation for a particular artist in the same way too eg ‘Geeeeeeene’, ‘Riiiiiiicky’ or ‘Jooooohnny’
I believe the first was Thee Vanessa Holmes show, celebrating Vanessa’s birthday, with Flat Top Dave spinning the sounds. During the year, there were occasions when the restrictions were lifted and others appeared, but the same date a year later, we are back down to another birthday in isolation. The original ‘Back, back, back’, chant came from those earliest shows.
Cat Talk Lee Russell, originally started his shows on Thursday afternoons, then owning Thursday evenings, spawning the Cactus Club. Appreciation for tunes and shows was shown by the number of cactus emojis, and as I put the finishing touches to this magazine, the Cactus Club event, with multiple DJs is in full flow.
Another one-year milestone was passed by Rockin Roland in Norfolk. Each week there’s a different theme to the show. ‘It’s a Rockabilly World’, ‘Love is in the Air’ for Valentine’s Day, ‘Rockabilly Tornado’ which ran over two weeks covering the bands that played at The Starfighter Club, and ‘Black Smoke, Blue Tears’, songs about trains, to name a few.
Got to give a mention to Simon Flintstone in the caves of Wales, who’s also been there from the start, the prototypical vinyl showcase
Deep breath, here are some of the others who have gone live, either solo, or in events like the Lockdown Rockin Weekender, DJ Domino’s Lockdown Rockin Jamboree or the afore mentioned Cactus Club events. And not to forget the radios shows as well.
Jay Cee in France has been a delight for around a year on Saturday afternoons. Dave Mumbles, Double Trouble, Robin Summerfield, DJ Wildgoner from Germany, the ever-present Danny Brown, El Nova in America, Rob Popp from Germany, Andy Munday from his spare room, Courtney Oakes, John Macleod, Simon Preacher, Steve Stack o Wax, Craig Simpson, FatKat and Julie, Adrian Waters, Little Carl and Joe Newbon, along with Be Bop Kaz, Bill and George Guntrip, Vanessa Sondheim, Tojo, Steve Cunningham, Lady Luck Lexy, Ruby Ann, The Nobster, and Marc Valentine on the radio.
All excellent, but we long to be in a hall with them all blasting out tunes live! There are certain unwritten protocols to being an online live DJ presenting a set. Here is a none-too- serious look at what you need to do….
Have set of double decks set up in a room choc-full of records, posters and musical instruments. Wear the coolest headgear at a jaunty angle and position your glasses at the opposing angle. Switch on coloured lighting. Play vinyl. Randomly shout at people joining your feed. Hold up the next record close to the camera, even though the image we see, is backwards. Shout ‘yeeeaaah’ a lot. Drink only from a bottle. Bounce. Cheat the social media red light by cutting your feed, before they do. Squint at the scrolling comments. Play Gene Vincent. Tell everyone to tune in to your next show 😊
To watch, you must use multiple emojis, explosions, fire, cacti, various vegetables and fruit, clapping and thumbs-up. You should be able to tell which label a song was issued on, who played bass and how long the run off is. Write favourable words with additional vowels to express your mounting appreciation, eg, ‘tuuuuuuuuuuune’ or ‘chooooon’. Express your appreciation for a particular artist in the same way too eg ‘Geeeeeeene’, ‘Riiiiiiicky’ or ‘Jooooohnny’
John presenting another fine show
We’ve seen acts come and go presenting live performances, but Curly on a Sunday has been live from his sofa, for an entire year. Yes, John Lewis’ show is informal and varied, and has been a mainstay of Sunday evenings throughout this weird period. Foot-stomping his way through Merle Travis instrumentals, rockers ‘Lawdy Miss Clawdy’, Country corkers like Ray Price’s ‘Crazy Arms’ and Dwight Yoakham’s ‘It Won’t Hurt’, Roy Hogshead’s ‘Cocaine Blues’, a tribute to Eddie Cochran (this being in April) with ‘Teenage Heaven’ and ‘Skinny Jim’, The Rimshots ‘Cold Sweat’, Johnny Bach’s ‘Lula Bop Be’, some Skiffle with Lonnie Donegan’s ‘Lonesome Traveller’ and his own stuff like ‘I Love You’. All topped off by Johnny Horton’s ‘One Woman Man’.
Massive variety, played on electric and acoustic guitars. Smashing stuff
Subscribe to his channel on Youtube and catch him on Sunday nights on Facebook, look up the Real John Lewis, to avoid retail outlets of the same name….
Massive variety, played on electric and acoustic guitars. Smashing stuff
Subscribe to his channel on Youtube and catch him on Sunday nights on Facebook, look up the Real John Lewis, to avoid retail outlets of the same name….
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Here are two events you should have in your diaries. We have really felt for all promoters who have scheduled their events only for Covid-19 to shut them down again and again. Bill Guntrip and family had three Hemsbys cancelled, and their inaugural Vintage Mania event. Here they are rescheduled for later this year and Spring 2022. You'll notice that he's took the cautious step of having British bands to play at both events, and there's plenty of variety for everyone. Get booking, especially as Hemsby has generated a huge amount of interest among the Rock n Roll public. Click on the flyers for details
interview with boston jive, part trois
Boston Jive's Claire and Neil Seabrook
Boston Jive interview part 3
This time last year, the world was teetering on the edge of lockdowns and restrictions. Almost overnight, businesses ordered to close, had their plans for 2020 completely obliterated. There was a glimmer of hope during the latter part of the summer where a few outdoor gigs took place, but that glimmer was soon snuffed out again by the second Covid-19 wave.
During that period, our friends at Boston Jive gave us the low down on how they were coping. Now with a path out of lockdown seemingly giving us all hope again (sic), we thought we’d catch up with Claire and Neil Seabrook to check out their plans for the future and how they’ve been dealing with such upheaval. NB, this interview was carried out remotely in line with current government guidelines.
BJR. Well, where do we start? How are you both?
CS/NS Well, we’re still here! I think that’s about the most we can say, ha ha!! We won’t lie, it’s been a very tough year and we have had many, many lows during that time. We could never have imagined how long this would go on for and how much it would affect us, but just like Bobby Vee’s Rubber Ball, we keep bouncing back! Thankfully we were both able to get jobs at the beginning of the year working at a Vaccination Centre, so that really has saved us financially, mentally and given us purpose again… although the early mornings are not something we are used to!
BJR. This time last year we were all still talking about the Ray Collins gig Boston Jive put on at Old Leake. Coronavirus was around but no one could have foreseen twelve months later we would still be in lockdowns. Did you immediately ‘ice’ everything?
CS/NS I know, we’re still talking about it now! If we had to ‘go out’ I’m glad it was with a massive BANG! Yes, we put the brakes on everything. We stopped our classes a week before the official lockdown happened and we postponed all immediate events… thinking we would be back some time in the late summer.. but we all know how that turned out!! We were extremely lucky though, as we did get to do a couple of events in the late summer, our Jivin’ Drive In’s, which were outside gigs, so at least we got to do a bit of what we loved.
BJR. The lifting of some restrictions in the summer of 2020 offered some respite. Did you feel like you were ‘back’ or was there always the dark threat of further restrictions to come?
CS/NS Yes it did, as I say we were lucky enough to get two outside events in and even a Halloween dance class and we did think that we were slowly on our way back to some normal. We were always cautious and kept in mind that there might be some lockdowns again, albeit local ones. Never did we think it would go on for so long again. Actually longer for us than the first lockdown.
BJR. Your weekender, Hot Rock and Boogie was a victim of the lockdown last year. What are the plans for that event in 2021?
CS/NS Due to the government restrictions that will still be in place, we have had to push the vent back, yet again! Our new dates are 14th and 15th May 2022. Another year to wait, which we are beyond gutted about but it needs to be done safely and we didn’t want to clash with any other events that are also trying their best to get back on track. We have a stellar line up!! We’re so excited!! Tickets will be honoured from the original event and extra tickets will be going on sale very soon.
BJR. Being dance instructors, how have you been able to keep up with your classes. Has zoom/skype/teams etc been your friend throughout?
CS/NS Before this all started, I thought Zoom was an ice lolly (I used to love those… wonder if you can still get them??) but now it’s our best friend. We have run classes via Zoom since the first lockdown. We were doing four a week during lockdown Mark 1 but then when our dancers had had a taste of the real classes again, it didn’t take off in the same way when we went back into lockdown. I think people have started to get bored with everything being over a screen, it was fun and something different to start with but it’s not really the same, so we totally understand. We still hold one main class a week with some of our dancers and have a whale of a time! It’s great fun and such a laugh. There’s often someone falling over a dog, onto a sofa or tripping over a cat (that is usually us!!). We have a little chat before and after and it’s just a lovely way to keep in touch with everyone and to still feel connected. We miss everyone unbelievably!
BJR. As Prime Minister Boris Johnson was setting out his road map for ending the lockdowns, were you both planning any comeback gigs? How did that feel?
CS/NS Oh my lord, we both cried!! We’ve tried very hard to push dancing, events and all that we love to the back of our minds to just make it easier to get on with the day to day but as soon as the road map was announced and we had potential dates to work to, I went into overdrive!! We have our first gig (fingers crossed) on Saturday 10th July with Rockin’Em, we are planning another for August and September, we have Shane and The Korrados on 16th October, Dylan Kirk & The Killers in December and Phil Haley & The Comments for NYE. We are planning the reopening of all our classes too, which should be allowed to happen from 17th of May, as long as the road map carries on the way it is going.
BJR. Do you think that we’ll all ‘hit the ground running’ when the hall doors are flung open again, or can you envisage a more measured approach?
CS/NS We can only speak for ourselves really, as people will deal with it in their own ways. We are taking a cautious approach. We want to make sure we are looking after everyone and making sure that they are happy and confident to return to the dance floor. It’s been so long and you almost become institutionalised – stay at home, don’t go out etc. It could be overwhelming to just go full steam ahead for people so we are taking it slow and steady. There will still be some restrictions in place for our first event at least and we have limited numbers for attendance. We’ll take it step by step and gradually open up more and more. I think that is what will work best for us and our dancers.
BJR. What do you consider the worst of this pandemic has been? From a personal viewpoint for example, one of the worst things has been, being kept away from people socially. How about you?
CS/NS Most definitely. Totally agree with that. We have missed everyone beyond measure and the thoughts of being able to teach again and see all our wonderful friends just brings me to tears. The worst thing for us personally has been the total and utter uncertainty. We have spent 5 years building our business, building something we love and feel so lucky and privileged to do and then to watch it all teetering on the brink has been terrifying. We feel very lucky to have landed the jobs we did this year, otherwise it may have been a sadder story. It has affected so many people in so many ways, our hearts truly go out to everyone.
BJR. Looking forward now, are you optimistic? What are you particularly looking forward to?
CS/NS Cautiously optimistic – you know us! I think we were too optimistic last summer of a full return and so now we’re taking it a bit steadier. Once we are back and we can see things starting to return to normal, then I will definitely feel more optimistic and will be planning all sorts!!
BJR. Do you have plans to restart classes at all?
CS/NS Yes indeedy!! Keeping everything tightly crossed, we are hoping to return (with restrictions still in place to start with) on Monday 17th of May….oooooh, I could crush a grape, I’m that excited!!!
BJR. And how can people find out more
CS/NS Anyone is welcome to call us on 07767 149167 or find us on facebook at Boston Jive where all the latest news and info can be found.
Addenda from the Bettajive Review. Here is how difficult being a promoter is. Boston Jive had the go-ahead for reopening of classes after the April 12th relaxation of restrictions, only to have it stopped again two days later. Still think it's easy?
This time last year, the world was teetering on the edge of lockdowns and restrictions. Almost overnight, businesses ordered to close, had their plans for 2020 completely obliterated. There was a glimmer of hope during the latter part of the summer where a few outdoor gigs took place, but that glimmer was soon snuffed out again by the second Covid-19 wave.
During that period, our friends at Boston Jive gave us the low down on how they were coping. Now with a path out of lockdown seemingly giving us all hope again (sic), we thought we’d catch up with Claire and Neil Seabrook to check out their plans for the future and how they’ve been dealing with such upheaval. NB, this interview was carried out remotely in line with current government guidelines.
BJR. Well, where do we start? How are you both?
CS/NS Well, we’re still here! I think that’s about the most we can say, ha ha!! We won’t lie, it’s been a very tough year and we have had many, many lows during that time. We could never have imagined how long this would go on for and how much it would affect us, but just like Bobby Vee’s Rubber Ball, we keep bouncing back! Thankfully we were both able to get jobs at the beginning of the year working at a Vaccination Centre, so that really has saved us financially, mentally and given us purpose again… although the early mornings are not something we are used to!
BJR. This time last year we were all still talking about the Ray Collins gig Boston Jive put on at Old Leake. Coronavirus was around but no one could have foreseen twelve months later we would still be in lockdowns. Did you immediately ‘ice’ everything?
CS/NS I know, we’re still talking about it now! If we had to ‘go out’ I’m glad it was with a massive BANG! Yes, we put the brakes on everything. We stopped our classes a week before the official lockdown happened and we postponed all immediate events… thinking we would be back some time in the late summer.. but we all know how that turned out!! We were extremely lucky though, as we did get to do a couple of events in the late summer, our Jivin’ Drive In’s, which were outside gigs, so at least we got to do a bit of what we loved.
BJR. The lifting of some restrictions in the summer of 2020 offered some respite. Did you feel like you were ‘back’ or was there always the dark threat of further restrictions to come?
CS/NS Yes it did, as I say we were lucky enough to get two outside events in and even a Halloween dance class and we did think that we were slowly on our way back to some normal. We were always cautious and kept in mind that there might be some lockdowns again, albeit local ones. Never did we think it would go on for so long again. Actually longer for us than the first lockdown.
BJR. Your weekender, Hot Rock and Boogie was a victim of the lockdown last year. What are the plans for that event in 2021?
CS/NS Due to the government restrictions that will still be in place, we have had to push the vent back, yet again! Our new dates are 14th and 15th May 2022. Another year to wait, which we are beyond gutted about but it needs to be done safely and we didn’t want to clash with any other events that are also trying their best to get back on track. We have a stellar line up!! We’re so excited!! Tickets will be honoured from the original event and extra tickets will be going on sale very soon.
BJR. Being dance instructors, how have you been able to keep up with your classes. Has zoom/skype/teams etc been your friend throughout?
CS/NS Before this all started, I thought Zoom was an ice lolly (I used to love those… wonder if you can still get them??) but now it’s our best friend. We have run classes via Zoom since the first lockdown. We were doing four a week during lockdown Mark 1 but then when our dancers had had a taste of the real classes again, it didn’t take off in the same way when we went back into lockdown. I think people have started to get bored with everything being over a screen, it was fun and something different to start with but it’s not really the same, so we totally understand. We still hold one main class a week with some of our dancers and have a whale of a time! It’s great fun and such a laugh. There’s often someone falling over a dog, onto a sofa or tripping over a cat (that is usually us!!). We have a little chat before and after and it’s just a lovely way to keep in touch with everyone and to still feel connected. We miss everyone unbelievably!
BJR. As Prime Minister Boris Johnson was setting out his road map for ending the lockdowns, were you both planning any comeback gigs? How did that feel?
CS/NS Oh my lord, we both cried!! We’ve tried very hard to push dancing, events and all that we love to the back of our minds to just make it easier to get on with the day to day but as soon as the road map was announced and we had potential dates to work to, I went into overdrive!! We have our first gig (fingers crossed) on Saturday 10th July with Rockin’Em, we are planning another for August and September, we have Shane and The Korrados on 16th October, Dylan Kirk & The Killers in December and Phil Haley & The Comments for NYE. We are planning the reopening of all our classes too, which should be allowed to happen from 17th of May, as long as the road map carries on the way it is going.
BJR. Do you think that we’ll all ‘hit the ground running’ when the hall doors are flung open again, or can you envisage a more measured approach?
CS/NS We can only speak for ourselves really, as people will deal with it in their own ways. We are taking a cautious approach. We want to make sure we are looking after everyone and making sure that they are happy and confident to return to the dance floor. It’s been so long and you almost become institutionalised – stay at home, don’t go out etc. It could be overwhelming to just go full steam ahead for people so we are taking it slow and steady. There will still be some restrictions in place for our first event at least and we have limited numbers for attendance. We’ll take it step by step and gradually open up more and more. I think that is what will work best for us and our dancers.
BJR. What do you consider the worst of this pandemic has been? From a personal viewpoint for example, one of the worst things has been, being kept away from people socially. How about you?
CS/NS Most definitely. Totally agree with that. We have missed everyone beyond measure and the thoughts of being able to teach again and see all our wonderful friends just brings me to tears. The worst thing for us personally has been the total and utter uncertainty. We have spent 5 years building our business, building something we love and feel so lucky and privileged to do and then to watch it all teetering on the brink has been terrifying. We feel very lucky to have landed the jobs we did this year, otherwise it may have been a sadder story. It has affected so many people in so many ways, our hearts truly go out to everyone.
BJR. Looking forward now, are you optimistic? What are you particularly looking forward to?
CS/NS Cautiously optimistic – you know us! I think we were too optimistic last summer of a full return and so now we’re taking it a bit steadier. Once we are back and we can see things starting to return to normal, then I will definitely feel more optimistic and will be planning all sorts!!
BJR. Do you have plans to restart classes at all?
CS/NS Yes indeedy!! Keeping everything tightly crossed, we are hoping to return (with restrictions still in place to start with) on Monday 17th of May….oooooh, I could crush a grape, I’m that excited!!!
BJR. And how can people find out more
CS/NS Anyone is welcome to call us on 07767 149167 or find us on facebook at Boston Jive where all the latest news and info can be found.
Addenda from the Bettajive Review. Here is how difficult being a promoter is. Boston Jive had the go-ahead for reopening of classes after the April 12th relaxation of restrictions, only to have it stopped again two days later. Still think it's easy?
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interview with damo and the dynamites
Interview with Damo And The Dynamites
We had the offer of reviewing a debut EP from Damo and the Dynamites, who were new to us. So, we thought we’d get the lowdown on what goes on in the world of the trio.
BJR. First things first, introduce us to the band members please, and what roles you play in it
D&D. Damo is our frontman and takes all lead vocals as well as playing guitar. Jack plays bass (double and electric) and sings backing vocals. Dave plays drums and contributes backing vocals too.
BJR. When did you all get into 50’s style Rock n Roll, and who are your musical influences?
Damo: When I was a teen my dad was working for a record company, RCA at the time. When I was about 12-13 he started bringing Elvis records home for me, and that’s how I got into it. Then I started listening to other 1950s stuff, Eddie Cochran, Chuck Berry, and so on, and then the Stray Cats burst on to the scene. Brian Setzer must be the biggest single influence on my guitar playing.
Dave: I come to playing rockabilly music from going through various styles in time and liking Chuck Berry and the others, which is ultimately where it all comes from. Then I started getting into rockabilly and I never looked back. I like the basic rawness of being in a three-piece where everyone knows their place and sticks to it.
Jack: The second record that my parents bought for my older brother included George Harrison singing Honey Don’t. I had no idea that that was rockabilly – to me it was The Beatles. Then 55 years went by, and I met this guy called Damo, and that’s why I play rockabilly.
BJR. How and where was the band formed?
D&D. Damo used to perform as a solo act at his local in Harrow, NW London, where one of the regulars was related to a drummer. She put Damo in touch with him, and the first line-up of the Dynamites was formed. They tried a couple of bass players before finding Jack, while Dave dep’d on drums for a few gigs before becoming first-choice drummer.
BJR. What sort of venues have you played at so far?
D&D. We’ve done pubs, clubs, open-air shows, town centre events, private parties, and in the last year or so, a number of beer gardens. Covid-permitting, it’s great to play to a dancefloor packed with people enjoying themselves. We’ve had rockabilly and rock ‘n’ roll audiences showing off all the dance moves, pub goers bopping along to the songs, classic car show attendees singing along and dancing on the grass… Our last few gigs have been socially distanced, with audiences ordered to sit down and be quiet, but it’s still fun to entertain.
BJR. The EP you’ve released is all original material. Who’s the composer, and do you do words and music or collaborate with the band to produce the songs?
D&D. Damo writes both the music and the lyrics of each song, after which it becomes a joint effort and the rest of the band chip in with the arrangements.
BJR. The Covid-19 pandemic has decimated the music industry, as we know. How were you able to produce your EP?
D&D. We got together in the studio when it was allowed by the rules, recorded the songs, then mixed and mastered them later. We created the accompanying videos remotely by shooting in front of green screens, and then editing the footage together digitally. The EP itself is self-published using Torch Music with every aspect of the production being handled online.
BJR. When we can all go out again and see bands play live again, what can people expect from a Damo And The Dynamites show?
D&D. We offer the authentic 1950s sound. We started as a rockabilly band and for our first couple of years we focused on that genre. By the time Covid hit, we were already moving into a more mainstream rock ‘n’ roll repertoire and we’ve used the various lockdowns to expand on that. After Covid we can now play an evening of rockabilly if that's what the crowd wants, or an evening of rock ‘n’ roll if they prefer that.
BJR. Finally how can people get in touch with the band, for info on booking and purchase of merchandise?
D&D. We have an up-to-date presence on the main social media – just search for Damo And The Dynamites on Facebook, Youtube, Instagram, Twitter or Vimeo, as well as Lemonrock.com. Feel free to send us a message, or an email to [email protected] if you prefer. Our EP is currently available to the public as a physical CD for sale at our gigs.
We had the offer of reviewing a debut EP from Damo and the Dynamites, who were new to us. So, we thought we’d get the lowdown on what goes on in the world of the trio.
BJR. First things first, introduce us to the band members please, and what roles you play in it
D&D. Damo is our frontman and takes all lead vocals as well as playing guitar. Jack plays bass (double and electric) and sings backing vocals. Dave plays drums and contributes backing vocals too.
BJR. When did you all get into 50’s style Rock n Roll, and who are your musical influences?
Damo: When I was a teen my dad was working for a record company, RCA at the time. When I was about 12-13 he started bringing Elvis records home for me, and that’s how I got into it. Then I started listening to other 1950s stuff, Eddie Cochran, Chuck Berry, and so on, and then the Stray Cats burst on to the scene. Brian Setzer must be the biggest single influence on my guitar playing.
Dave: I come to playing rockabilly music from going through various styles in time and liking Chuck Berry and the others, which is ultimately where it all comes from. Then I started getting into rockabilly and I never looked back. I like the basic rawness of being in a three-piece where everyone knows their place and sticks to it.
Jack: The second record that my parents bought for my older brother included George Harrison singing Honey Don’t. I had no idea that that was rockabilly – to me it was The Beatles. Then 55 years went by, and I met this guy called Damo, and that’s why I play rockabilly.
BJR. How and where was the band formed?
D&D. Damo used to perform as a solo act at his local in Harrow, NW London, where one of the regulars was related to a drummer. She put Damo in touch with him, and the first line-up of the Dynamites was formed. They tried a couple of bass players before finding Jack, while Dave dep’d on drums for a few gigs before becoming first-choice drummer.
BJR. What sort of venues have you played at so far?
D&D. We’ve done pubs, clubs, open-air shows, town centre events, private parties, and in the last year or so, a number of beer gardens. Covid-permitting, it’s great to play to a dancefloor packed with people enjoying themselves. We’ve had rockabilly and rock ‘n’ roll audiences showing off all the dance moves, pub goers bopping along to the songs, classic car show attendees singing along and dancing on the grass… Our last few gigs have been socially distanced, with audiences ordered to sit down and be quiet, but it’s still fun to entertain.
BJR. The EP you’ve released is all original material. Who’s the composer, and do you do words and music or collaborate with the band to produce the songs?
D&D. Damo writes both the music and the lyrics of each song, after which it becomes a joint effort and the rest of the band chip in with the arrangements.
BJR. The Covid-19 pandemic has decimated the music industry, as we know. How were you able to produce your EP?
D&D. We got together in the studio when it was allowed by the rules, recorded the songs, then mixed and mastered them later. We created the accompanying videos remotely by shooting in front of green screens, and then editing the footage together digitally. The EP itself is self-published using Torch Music with every aspect of the production being handled online.
BJR. When we can all go out again and see bands play live again, what can people expect from a Damo And The Dynamites show?
D&D. We offer the authentic 1950s sound. We started as a rockabilly band and for our first couple of years we focused on that genre. By the time Covid hit, we were already moving into a more mainstream rock ‘n’ roll repertoire and we’ve used the various lockdowns to expand on that. After Covid we can now play an evening of rockabilly if that's what the crowd wants, or an evening of rock ‘n’ roll if they prefer that.
BJR. Finally how can people get in touch with the band, for info on booking and purchase of merchandise?
D&D. We have an up-to-date presence on the main social media – just search for Damo And The Dynamites on Facebook, Youtube, Instagram, Twitter or Vimeo, as well as Lemonrock.com. Feel free to send us a message, or an email to [email protected] if you prefer. Our EP is currently available to the public as a physical CD for sale at our gigs.
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CD and vinyl reviews
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Wild Records Young Breed Vol 3 – CD review
Another, what’s known as an ‘OMG’ moment, when we realised that Wild Records is in it’s twentieth year now. Set up by Reb Kennedy in 2001, it combines acknowledging the sounds produced by the original 1950’s pioneer Rockabilly artists and combines it with a forward looking sound relevant to today’s audiences. The Wild Records acts are vibrant, cosmopolitan and innovative, and here is a smashing collection of some of them on this CD.
Although based in California, it’s an English based band that open with a brace of corkers. The Honkabillies, have been regulars on the UK Rock n Roll circuit for some years now, with their all encompassing style. ‘I Still Carry On’ is a punchy rocker featuring heavy reverb on the guitar, and some really growling riffs, complementing lead singer Frankie’s vocals. ‘Bye Bye Baby’ is another powerhouse rocker in a similar vein, which sets the tone for those who follow.
Sebastien Bordeaux’s musical style, if you wish to categorise it, is a broad ranging form of Americana ably demonstrated with ‘My Only God is Real’, a truly catchy acoustic guitar and bass driven country rocker. ‘Black Magic’ slows it down a little with a thumping bass beat, and suitably sinister sounding vocals. If you’re not familiar with this multi-instrumentalist and song writer, check him out online.
Guillermo Y Los Pistoleros loosely translated as Guillermo and the gunmen, certainly make a bang with ‘Rock n Roll Tonight’, frantic rockin’ vocals and searing guitar runs in under two heavenly minutes. Their second contribution ‘Over You’, is a cracking foot stomping chunk of Rockabilly in the mid-50’s style. The Booze Bombs are a German four piece fronted by alluring singer Annie Leopardo, who has a take-no-prisoners vocal style perfectly showcased on ‘You Done Me Wrong’, a thumping rock-out tune. Doubling up on the delight is a super blues bopper ‘Hate to See You Go’, soaked in wailing harmonica against a ‘sho-nuff-please-don’t-go’ style. Ace.
The Knockout Kings are up next from Costa Mesa California, with ‘Heartache’, a smoothly executed mid-tempo tune with that early 50’s-60’s turn of the decade sound with a freshness from today. ‘You Got Me Hooked’ ups the anti, with a zippy beat and super cool guitar work. Tornado Beat! As much a statement with the exclamation mark as a name for a band. Indeed both are applicable to the Dutch band’s style. Formed in late 2019, they were just gaining some traction before the world went pear-shaped, however here’s a pair of classy tunes. Kim’s vocals on ‘Lover’ are authoritative and soulful, with ‘Don’t Take It Too Far’ offering a smooth vibe, complemented by some ace sax work.
OK, I’m amazed we haven’t run into the Isaac Webb Trio. They have one track on this CD, but what a belter ‘Night Sweats’ is, just over two and a half minutes of Rockabilly heaven straight of Shetland. Kicking beat and great guitar work. Must hear, must see! Next up, from Melbourne Australia, it’s Ross and the Wildest, and ‘Girl From Another Town’, which is one of those Rockabilly tunes that has everything, great beat, lyrics and rock-out guitar solo. They back that up with ‘Lone Legged Linda’, a hot jive tempo, which has a Chuck Berry feel about the rhythm and guitar.
Another, what’s known as an ‘OMG’ moment, when we realised that Wild Records is in it’s twentieth year now. Set up by Reb Kennedy in 2001, it combines acknowledging the sounds produced by the original 1950’s pioneer Rockabilly artists and combines it with a forward looking sound relevant to today’s audiences. The Wild Records acts are vibrant, cosmopolitan and innovative, and here is a smashing collection of some of them on this CD.
Although based in California, it’s an English based band that open with a brace of corkers. The Honkabillies, have been regulars on the UK Rock n Roll circuit for some years now, with their all encompassing style. ‘I Still Carry On’ is a punchy rocker featuring heavy reverb on the guitar, and some really growling riffs, complementing lead singer Frankie’s vocals. ‘Bye Bye Baby’ is another powerhouse rocker in a similar vein, which sets the tone for those who follow.
Sebastien Bordeaux’s musical style, if you wish to categorise it, is a broad ranging form of Americana ably demonstrated with ‘My Only God is Real’, a truly catchy acoustic guitar and bass driven country rocker. ‘Black Magic’ slows it down a little with a thumping bass beat, and suitably sinister sounding vocals. If you’re not familiar with this multi-instrumentalist and song writer, check him out online.
Guillermo Y Los Pistoleros loosely translated as Guillermo and the gunmen, certainly make a bang with ‘Rock n Roll Tonight’, frantic rockin’ vocals and searing guitar runs in under two heavenly minutes. Their second contribution ‘Over You’, is a cracking foot stomping chunk of Rockabilly in the mid-50’s style. The Booze Bombs are a German four piece fronted by alluring singer Annie Leopardo, who has a take-no-prisoners vocal style perfectly showcased on ‘You Done Me Wrong’, a thumping rock-out tune. Doubling up on the delight is a super blues bopper ‘Hate to See You Go’, soaked in wailing harmonica against a ‘sho-nuff-please-don’t-go’ style. Ace.
The Knockout Kings are up next from Costa Mesa California, with ‘Heartache’, a smoothly executed mid-tempo tune with that early 50’s-60’s turn of the decade sound with a freshness from today. ‘You Got Me Hooked’ ups the anti, with a zippy beat and super cool guitar work. Tornado Beat! As much a statement with the exclamation mark as a name for a band. Indeed both are applicable to the Dutch band’s style. Formed in late 2019, they were just gaining some traction before the world went pear-shaped, however here’s a pair of classy tunes. Kim’s vocals on ‘Lover’ are authoritative and soulful, with ‘Don’t Take It Too Far’ offering a smooth vibe, complemented by some ace sax work.
OK, I’m amazed we haven’t run into the Isaac Webb Trio. They have one track on this CD, but what a belter ‘Night Sweats’ is, just over two and a half minutes of Rockabilly heaven straight of Shetland. Kicking beat and great guitar work. Must hear, must see! Next up, from Melbourne Australia, it’s Ross and the Wildest, and ‘Girl From Another Town’, which is one of those Rockabilly tunes that has everything, great beat, lyrics and rock-out guitar solo. They back that up with ‘Lone Legged Linda’, a hot jive tempo, which has a Chuck Berry feel about the rhythm and guitar.
Honkabillies' Frankie Reidell
From Mexico, next it’s the Rhythm Fires, with ‘Id Rather Be Alone’. Citing Elvis, Johnny Kidd and Mac Curtis as influences, this track has nuances from all three, with the vocal delivery, understated but hugely effective. The rhythm and style of ‘I Found Myself With You’ put me in mind of 1970’s Western films, the guitar having echo and reverb, that gave it that haunting sound.
Dasta and the Smokin’ Snakes from Brazil, have an immense talent in lead singer and songwriter Dasta Gomes, and once the ‘Snakes fire up, it’s an aural treat. His delivery reminds us of Pat Cupp, and the sound is wonderfully authentic, just listen to the ballsy beat of ‘Ain’t Gonna Beg No More’. If you could have an amalgamation of ‘I’m a Hobo’ with Johnny Cash, then you have the basic feel of ‘Where There’s a Will There’s a Way’. Top drawer Rockabilly.
From Los Angeles, via Japan, Ryota’s Delinquents, provide a style of rockin’ music that (rightly or wrongly) we associate with the West Coast of America. It’s frantic, as in ‘Hopped Up’, but by the same token, very well presented. ‘I Need a Woman’ with it’s imploring lyrics, is set against some ‘A’ grade guitar work. The Shook Boys, describe themselves as ‘nasty Toronto Rockabilly’ which I’d suggest is a term of endearment, because these lads know where it’s at. The first of their contributions is a cover of Jimmy Witter and the Shadows’ ‘If You Love My Woman’. ‘Feel Real Fine’ is a fiery and speedy rocker, that ends as abruptly as it starts. Smashing stuff.
‘I Shoot You’ introduces us to the music of Elvis Cantu. This track is his sole contribution, but what a peach it is from the songster from Texas. Foot stomping beat combined with a bright and breezy vocal style, drawing influences from country and Rockabilly. The Messed Up Trio are from Finland, and provide a ballsy rocker ‘Another Dead End’ to the playlist. No nonsense rockin’ here folks, growling vocals and prominent guitar riffs. Good to hear a cracking surf instrumental on this compilation, and it’s supplied by the Silhouettes. ‘Quarter Mile Thunder’, is a classic surf sound, loving the guitar runs on this.
A slight change of style next with the Ultrasonics’ ‘Outta Know’. A kind of early sixties vibe going down on this, check out the use of the bass guitar too. Their second track is ‘Tell Me’ is a bit more upbeat, and in part made us think of The Searchers (Merseybeat band). The final two tracks are by the Wenzdaze, who were formerly known as Wild Youth. Three young lads with that youthful joi-de-vivre, tinged with adolescent angst, powering through in the imaginatively titled ‘Don’t Wanna Be Your Dog’. To wrap the CD up, the lads rip into an almost anthemic teen tune ‘I Don’t Wanna Go To School’. Both tracks have an almost punk feel to them.
This is a hugely varied and diverse collection of tracks from Wild Records. The multi-national line up, adds to the attraction and interest. First class
Dasta and the Smokin’ Snakes from Brazil, have an immense talent in lead singer and songwriter Dasta Gomes, and once the ‘Snakes fire up, it’s an aural treat. His delivery reminds us of Pat Cupp, and the sound is wonderfully authentic, just listen to the ballsy beat of ‘Ain’t Gonna Beg No More’. If you could have an amalgamation of ‘I’m a Hobo’ with Johnny Cash, then you have the basic feel of ‘Where There’s a Will There’s a Way’. Top drawer Rockabilly.
From Los Angeles, via Japan, Ryota’s Delinquents, provide a style of rockin’ music that (rightly or wrongly) we associate with the West Coast of America. It’s frantic, as in ‘Hopped Up’, but by the same token, very well presented. ‘I Need a Woman’ with it’s imploring lyrics, is set against some ‘A’ grade guitar work. The Shook Boys, describe themselves as ‘nasty Toronto Rockabilly’ which I’d suggest is a term of endearment, because these lads know where it’s at. The first of their contributions is a cover of Jimmy Witter and the Shadows’ ‘If You Love My Woman’. ‘Feel Real Fine’ is a fiery and speedy rocker, that ends as abruptly as it starts. Smashing stuff.
‘I Shoot You’ introduces us to the music of Elvis Cantu. This track is his sole contribution, but what a peach it is from the songster from Texas. Foot stomping beat combined with a bright and breezy vocal style, drawing influences from country and Rockabilly. The Messed Up Trio are from Finland, and provide a ballsy rocker ‘Another Dead End’ to the playlist. No nonsense rockin’ here folks, growling vocals and prominent guitar riffs. Good to hear a cracking surf instrumental on this compilation, and it’s supplied by the Silhouettes. ‘Quarter Mile Thunder’, is a classic surf sound, loving the guitar runs on this.
A slight change of style next with the Ultrasonics’ ‘Outta Know’. A kind of early sixties vibe going down on this, check out the use of the bass guitar too. Their second track is ‘Tell Me’ is a bit more upbeat, and in part made us think of The Searchers (Merseybeat band). The final two tracks are by the Wenzdaze, who were formerly known as Wild Youth. Three young lads with that youthful joi-de-vivre, tinged with adolescent angst, powering through in the imaginatively titled ‘Don’t Wanna Be Your Dog’. To wrap the CD up, the lads rip into an almost anthemic teen tune ‘I Don’t Wanna Go To School’. Both tracks have an almost punk feel to them.
This is a hugely varied and diverse collection of tracks from Wild Records. The multi-national line up, adds to the attraction and interest. First class
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Shake ‘em On Down Vol 10 – Various artists
CD review
This compilation has been repressed, so there’s more available if you haven’t got hold of a copy yet. So we are republishing our review from 2019 (pre magazine days) for you. And then you’ll be able to go for double bubble when you read the review of Vol 11 later 😊 You may recall the impact that the twenty seven tracks of Shake ‘em On Down Vol 1 had in the mid nineties and the CD and subsequent issues, have been at the front of the DJ box for some cool late night boppin’ since.
So how do the twenty five tracks here, stack up with the previous nine incarnations? Well I invite you to read on. If you think of the go-to blues pioneers, John Lee Hooker, is a name synonymous with quality rhythms and beats. He was on Vol 1, and he opens up on volume ten here with the first of three top tunes, this being a later version of ‘Big Road’. By later, I mean 80’s at a guess. Whenever it was recorded, it’s a slightly hopped up version from the original, and the bass guitar on it, is sublime.
Slim Harpo with some (unsurprisingly) cool harmonica to open up ‘Hey Little Lee’, which has a ‘Big Boss Man’ feel to it. Recorded in 1968, it’s one of those tracks that could have a foot in the rock n roll and/or mod camp. Junior Kimbrough (1930-1998) weighs in with two tracks, one word apart, if you follow me. ‘Feels So Good’ is tempered with ‘Feel So Bad’ which is near the end of the compilation. Both tracks are steeped in rhythm and it’ll be difficult to pick, if you want to, a favourite of the two.
Some cool harmonica stuff next with George Russell’s ‘Cherokee Stomp’, an AOK record from 1969. An instrumental that pitches the harmonica with some tidy guitar picking, and yes folks, it is indeed a stomper and thigh slapper, whichever you fancy. Muddy Waters, another great blues pioneer, and this track ‘Can’t Get No Grindin’ featuring the bracketed title ‘What’s the Matter with the Mill’. Now there’s some conjecture, which is which, whether it’s ‘Mill’ or ‘Meal’. All I’ll say is that listening to the lyrics, ‘mill’ makes sense. But you’ll have to check this rock-along tune, originally from Muddy’s second last Chess LP, for yourselves.
Chuck Berry’s ‘Too Much Monkey Business’ is a personal favourite of mine, so when another version gets played, I tend to look suspiciously over my glasses at whoever’s put it on. Well, I’ll tell you what readers, this Freddy Cannon version, with it’s ‘chunka-chunka’ beat and Freddy ‘Whoos’, works really well. What do you think of when you hear of John Fred? ‘Boogie Children’? ‘Judy in Disguise’? Well, you’ll be taken by this tune ‘Lenne’ which was a ‘B’ side from 1964, cool bopper this one.
The Sophmores (correct spelling), about whom I know nothing, arrive with a Bo Diddley sounding tune called ‘Workout’ before another corker from the Boogie Man, John Lee Hooker. ‘Going Upstairs’ from ’61, has a ghostly voodoo riff about it, set to a stroll beat, and unmistakeable Hooker vocal delivery. McKinley Mitchell follows, with the classic bopper, ‘Rock Everybody Rock’, real guitar driven kicking bopper this one, that’s guaranteed to get your feet moving. Elmo Williams’ ‘Booster’ is another curio, completely new to me, from the mid- nineties, and what a good groove it is.
This series of ‘Shake ‘em On Down’ always seems to unearth some exceptional accordion tracks, with a Cajun and Creole vibe. Such is the case with Louisiana’s Clifton Chenier, and a stomping instrumental ‘Wrap It Up’. More John Lee Hooker next with a track from 1992, ‘Boogie at Russian Hill’ with the explosive Albert Collins on guitar, this will leave you breathless folks.
There’s a super cover of Jimmy McCracklin’s ‘Georgia Slop’, which features some unusual piano accompaniment and wailing harmonica, which makes this 1964 tune stand alongside the oft played McCracklin version. Daddy Long Legs’ ‘Evil Eye’ is a latter-day track, that has a pounding beat and distorted vocals, along with a howling harmonica break. ‘R. L. Boogie’ by R. L. Boyce is something else I’d not heard before. Apparently recorded in one take, this track seems adlibbed throughout, to the greatest effect.
Johnny Winter follows, with a ‘68 remake of Muddy Waters’ 1950 track ‘Rollin’ and Tumblin’. This is a frantically paced version, make no mistake readers. Lucky Lopez’s ‘Good Morning Train’ has a repetitive guitar riff throughout, and a maraca-tastic accompaniment. Much respect for including the later version of R. L. Burnside’s ‘Old Black Mattie’, just over four minutes of blues heaven.
Another version of ‘Roll and Tumble’ (without the ‘in’s) this time, and R. L. Boyce. Remember in the old VH1 days, seeing Bob Dylan’s ‘Subterranean Homesick Blues’ and the lyrics on cards in the video shot in front of the Savoy hotel? Well here is a cover by Steve Anthony, set to a catchy rhythm while Louisiana Red sings about himself in the ’63 Roulette cut ‘Ride On’.
Cleo Page’s ‘Goody Train Part Two’, I’ll be honest readers, sounds so much like Little Walter’s ‘My Babe’ it’s tough to listen to this 1972 track as a stand-alone tune. If you like ‘My Babe’, you’ll love this. The CD is topped off by Slim Harpo’s version of the popular classic Warren Smith Sun Rockabilly bopper, ‘Got Love If You Want It’, both versions are from 1957. Cool version this one.
The detail we’ve gone into here, should give you an insight into the artists and songs. Volume 10 has kept up the quality of the series’ releases, with some later tracks by original artists and some latter-day artists performing some top drawer songs. A must have for completists and newbies alike.
CD review
This compilation has been repressed, so there’s more available if you haven’t got hold of a copy yet. So we are republishing our review from 2019 (pre magazine days) for you. And then you’ll be able to go for double bubble when you read the review of Vol 11 later 😊 You may recall the impact that the twenty seven tracks of Shake ‘em On Down Vol 1 had in the mid nineties and the CD and subsequent issues, have been at the front of the DJ box for some cool late night boppin’ since.
So how do the twenty five tracks here, stack up with the previous nine incarnations? Well I invite you to read on. If you think of the go-to blues pioneers, John Lee Hooker, is a name synonymous with quality rhythms and beats. He was on Vol 1, and he opens up on volume ten here with the first of three top tunes, this being a later version of ‘Big Road’. By later, I mean 80’s at a guess. Whenever it was recorded, it’s a slightly hopped up version from the original, and the bass guitar on it, is sublime.
Slim Harpo with some (unsurprisingly) cool harmonica to open up ‘Hey Little Lee’, which has a ‘Big Boss Man’ feel to it. Recorded in 1968, it’s one of those tracks that could have a foot in the rock n roll and/or mod camp. Junior Kimbrough (1930-1998) weighs in with two tracks, one word apart, if you follow me. ‘Feels So Good’ is tempered with ‘Feel So Bad’ which is near the end of the compilation. Both tracks are steeped in rhythm and it’ll be difficult to pick, if you want to, a favourite of the two.
Some cool harmonica stuff next with George Russell’s ‘Cherokee Stomp’, an AOK record from 1969. An instrumental that pitches the harmonica with some tidy guitar picking, and yes folks, it is indeed a stomper and thigh slapper, whichever you fancy. Muddy Waters, another great blues pioneer, and this track ‘Can’t Get No Grindin’ featuring the bracketed title ‘What’s the Matter with the Mill’. Now there’s some conjecture, which is which, whether it’s ‘Mill’ or ‘Meal’. All I’ll say is that listening to the lyrics, ‘mill’ makes sense. But you’ll have to check this rock-along tune, originally from Muddy’s second last Chess LP, for yourselves.
Chuck Berry’s ‘Too Much Monkey Business’ is a personal favourite of mine, so when another version gets played, I tend to look suspiciously over my glasses at whoever’s put it on. Well, I’ll tell you what readers, this Freddy Cannon version, with it’s ‘chunka-chunka’ beat and Freddy ‘Whoos’, works really well. What do you think of when you hear of John Fred? ‘Boogie Children’? ‘Judy in Disguise’? Well, you’ll be taken by this tune ‘Lenne’ which was a ‘B’ side from 1964, cool bopper this one.
The Sophmores (correct spelling), about whom I know nothing, arrive with a Bo Diddley sounding tune called ‘Workout’ before another corker from the Boogie Man, John Lee Hooker. ‘Going Upstairs’ from ’61, has a ghostly voodoo riff about it, set to a stroll beat, and unmistakeable Hooker vocal delivery. McKinley Mitchell follows, with the classic bopper, ‘Rock Everybody Rock’, real guitar driven kicking bopper this one, that’s guaranteed to get your feet moving. Elmo Williams’ ‘Booster’ is another curio, completely new to me, from the mid- nineties, and what a good groove it is.
This series of ‘Shake ‘em On Down’ always seems to unearth some exceptional accordion tracks, with a Cajun and Creole vibe. Such is the case with Louisiana’s Clifton Chenier, and a stomping instrumental ‘Wrap It Up’. More John Lee Hooker next with a track from 1992, ‘Boogie at Russian Hill’ with the explosive Albert Collins on guitar, this will leave you breathless folks.
There’s a super cover of Jimmy McCracklin’s ‘Georgia Slop’, which features some unusual piano accompaniment and wailing harmonica, which makes this 1964 tune stand alongside the oft played McCracklin version. Daddy Long Legs’ ‘Evil Eye’ is a latter-day track, that has a pounding beat and distorted vocals, along with a howling harmonica break. ‘R. L. Boogie’ by R. L. Boyce is something else I’d not heard before. Apparently recorded in one take, this track seems adlibbed throughout, to the greatest effect.
Johnny Winter follows, with a ‘68 remake of Muddy Waters’ 1950 track ‘Rollin’ and Tumblin’. This is a frantically paced version, make no mistake readers. Lucky Lopez’s ‘Good Morning Train’ has a repetitive guitar riff throughout, and a maraca-tastic accompaniment. Much respect for including the later version of R. L. Burnside’s ‘Old Black Mattie’, just over four minutes of blues heaven.
Another version of ‘Roll and Tumble’ (without the ‘in’s) this time, and R. L. Boyce. Remember in the old VH1 days, seeing Bob Dylan’s ‘Subterranean Homesick Blues’ and the lyrics on cards in the video shot in front of the Savoy hotel? Well here is a cover by Steve Anthony, set to a catchy rhythm while Louisiana Red sings about himself in the ’63 Roulette cut ‘Ride On’.
Cleo Page’s ‘Goody Train Part Two’, I’ll be honest readers, sounds so much like Little Walter’s ‘My Babe’ it’s tough to listen to this 1972 track as a stand-alone tune. If you like ‘My Babe’, you’ll love this. The CD is topped off by Slim Harpo’s version of the popular classic Warren Smith Sun Rockabilly bopper, ‘Got Love If You Want It’, both versions are from 1957. Cool version this one.
The detail we’ve gone into here, should give you an insight into the artists and songs. Volume 10 has kept up the quality of the series’ releases, with some later tracks by original artists and some latter-day artists performing some top drawer songs. A must have for completists and newbies alike.
Shake ‘em on Down Vol 11 – CD review
Say it isn’t so, the Shake ‘em on Down series is twenty-eight years old? Get the, I mean, say what? Let’s face it readers, this series has been around for half of our lives. Some compilation series tend to run out of gas after two or three volumes, but this one, continues to bust many-a ball in a blues bop stylie. And it’s down to Flat Top Mark, who set up his platform above the oil field of classic blues and tapped into, remastered and reissued some exceptional tracks.
Taking the opener as an example, the Super Super Blues Band and ‘Long Distance Call’. Here was a project that brought together Howlin Wolf, Muddy Waters and Bo Diddley, three Titans of Blues music in one studio, in 1968 for a one off album. ‘Long Distance Call’ was a Muddy Waters song that, on the album was nine plus minutes long. Here it’s condensed into around four minutes, retaining the hollering and haunting vocals. Later on in the release they return with ‘You Don’t Love Me’, which is a kind of mash-up, with the three protagonists having a ball in the studio.
A similar process of reduction in running time is applied to John Lee Hooker and Canned Heat’s ‘Boogie Chillun No.2’. This is from the fabulous collaboration double LP from 1971, ‘Hooker and Heat’. Incredibly this was the first Hooker album to chart in a massive career. It has the classic Canned Heat ‘On The Road Again’ sound with the masterful Hooker vocals, and originally ran for eleven and a half minutes. It’s tinged with sadness for ‘Heat fans as this was the last studio album to feature harmonica player Alan Wilson.
Gerry Lockran, (1942-87) was an Indian born British Blues and Folk singer active from the mid-50’s to the early 80’s. ‘This Train’ is indeed the traditional song that has been reworked by a myriad of artists, and originally appeared on the flip to ‘Hey Jude’ (yes that song written by those two) in 1969. It a stripped down and raw version with stinging acoustic guitar picking, and some serious walking bass. Baby John Hinds’ pacey rocker ‘Wild About My Lovin’ from a sole(?) release in 1966 on Chess Records, has a pretty relentless pace to it, which makes you wonder why this was seemingly his only recording.
A real foot stomper is up next with Jawbone’s version of Johnny Cash’s ‘Get Rhythm’. Jawbone is actually Bob Zabor, from Detorit, and is your classic ‘one man band’, although hearing this, you’d think he was fronting a four piece! This came from an album in 2004 ‘Cash Covered’. Big H Williams, is another of those artists who appear to have precious little in the back catalogue, but what is there, is ace. ‘Almost Gone’ could be described as a collection of vocal inflections set to a catchy, if repetitive beat. Whatever, this 1967 beauty on Ivory Records, is a peach, and it’s original form, zipped along for a minute and a half. FTM has doubled that, for which you will be eternally grateful.
Boozoo Chavis (1930-2001) has appeared on more than one FTM compilation, and quite rightly so with his infectious fusion of Zydeco and Cajun music, demonstrated perfectly with ‘Do It All Night Long’. I believe this was an album track from 1987, taking the listener right into Louisiana. Charles Isaiah Ross, (1925-93) known professionally as Doctor Ross, has a sound, and indeed lyrical style unique to himself, often relying on the same lyrics and rhythm in different songs. Indeed ‘Mississippi Blues’ is very similar to ‘Cat Squirrel’ in it’s composition and delivery.
Little Junior Parker and the Blueflames weigh in next with ‘I Wanna Ramble’. Again, Parker’s style surrounding the whole ‘Feelin Good, Feelin’ Bad’ vibe is evident here on the Duke label 45rpm from 1955. Now then, up next is ‘Goin’ Mad Blues’ by Delta John. I heard an interview with John Lee Hooker years ago where he confessed to recording on different record labels under different names, and this is one of them. It’s unmistakeably Hooker, in his earliest style, rapid foot tapping and simple but effective guitar work.
We saw earlier, Junior Parker’s contribution. Now we have Magic Sam’s ‘I Feel Good’, from 1963, which is essentially Parker’s ‘Feelin’ Good’ with a sax. Sam’s version did very well commercially leading to tours of the USA, Great Britain and Germany. Cousin Leroy’s (Rozier) debut single on the mainly Blues label Groove, was a kicking Blues bop sound in 1955 ‘Goin’ Back Home’. Driven along by a thumping drum beat and harmonica, it’s your classic ‘return’ song.
You can’t beat a good old train tune, and here’s one the finest, Bo Diddley’s ‘Catch That Train’, a reworking of ‘Hey Mister Engineer’ from 1961. It sounds like Bo is having a whale of a time recording this tune, basically about a man who had hitched a ride on a train without paying and trying to avoid the engineer. Characteristic Bo ‘chunka-chunka’ beat with maraca and bass providing the train rhythm, and guitar giving the ‘woo woos’. ‘I said hello there!’ Excellent
For the first time, Sonny West’s ‘Jump Around’ is available on CD. If you heard this ‘cold’ chances are you’d think it was straight out of Mississippi. The lyrics are as much an expectation as an instruction, and I defy you not to feel the vibe here. ‘Jump Around’ is the flip to the powerhouse ‘Whiplash’ on a FTM 45 from 2016. Some familiarity for everyone next with John Fred and The Playboys’ ‘Boogie Children’ with a 2021 tag. The song itself was originally a superior 1965 ‘B’ side on the N-Joy record label (Louisiana) to the rather dreary ‘My First Love’. Interestingly both side were written by Lynwood Ourso, although the lyrics of ‘Boogie Children’ owe a lot to John Lee Hooker’s ‘Boogie Chillun’.
R. L. Burnside’s ‘Jumper on the Line’ gets a ballsy update sound-wise from the Flatliners, a latter-day band from Ontario, Canada. Another re-make follows, Corporate Image’s 1966 take on Buddy Holly’s ‘Not Fade Away’, which came out in 1966 on MGM, and was pretty much all they recorded (that I can find!). The Dirty Stones’ ‘Hate To See You Go’, tell you what readers, it don’t half sound like………….
Johnny ‘Big Moose’ Walker (1927-99), was a Chicago based musician who worked with some of the greats of Blues music including Ike Turner, Lowell Fulson and Sonny Boy Williamson. ‘Rambling Woman’ was the title track to his 1970 LP, which also featured Earl Hooker on guitar. Often cited as ‘King of the Slide Guitar’, it’s Holmes County, Mississippi’s Elmore James up next with ‘Cry For Me Baby’, listed here as ‘Cry For You’. This doesn’t feature the slidey sound of the likes of ‘Shake Your Money Maker’ for example, but showcases some serious guitar work on this 1957 zippy lament
OK readers, Little Johnny Burton is new to us, and his output seems to be limited to this track ‘Talkin About Me’, and a connection with Ike Turner. The track was unissued in the 50’s, and appeared on an Ivory Records EP. Betcha love it though! Some mid 60’s Blues next with Jimmy Reed’s ‘Devil’s Shoestring Part II’, a bright and breezy instrumental tune, that was the ‘B’ side of a cracking twin spin from ’64, with ‘I’m Going Upside Your Head’ on the ‘A’. Topping off the release, two Blues forces of nature, Lightnin’ Slim and Schoolboy Cleve (Otis Verris Hicks and Cleveland White respectively) combine on ‘She’s Gone’, a harmonica driven rocker, which is a fitting climax to the track listing.
I can recall getting the very first one in this series, and hearing that track listing all over the Rock n Roll circuit. This one I suspect will create just as much of a buzz among DJs as the first. There’s so much to enjoy on it, and hats off to FTM for continuing to present such quality.
Say it isn’t so, the Shake ‘em on Down series is twenty-eight years old? Get the, I mean, say what? Let’s face it readers, this series has been around for half of our lives. Some compilation series tend to run out of gas after two or three volumes, but this one, continues to bust many-a ball in a blues bop stylie. And it’s down to Flat Top Mark, who set up his platform above the oil field of classic blues and tapped into, remastered and reissued some exceptional tracks.
Taking the opener as an example, the Super Super Blues Band and ‘Long Distance Call’. Here was a project that brought together Howlin Wolf, Muddy Waters and Bo Diddley, three Titans of Blues music in one studio, in 1968 for a one off album. ‘Long Distance Call’ was a Muddy Waters song that, on the album was nine plus minutes long. Here it’s condensed into around four minutes, retaining the hollering and haunting vocals. Later on in the release they return with ‘You Don’t Love Me’, which is a kind of mash-up, with the three protagonists having a ball in the studio.
A similar process of reduction in running time is applied to John Lee Hooker and Canned Heat’s ‘Boogie Chillun No.2’. This is from the fabulous collaboration double LP from 1971, ‘Hooker and Heat’. Incredibly this was the first Hooker album to chart in a massive career. It has the classic Canned Heat ‘On The Road Again’ sound with the masterful Hooker vocals, and originally ran for eleven and a half minutes. It’s tinged with sadness for ‘Heat fans as this was the last studio album to feature harmonica player Alan Wilson.
Gerry Lockran, (1942-87) was an Indian born British Blues and Folk singer active from the mid-50’s to the early 80’s. ‘This Train’ is indeed the traditional song that has been reworked by a myriad of artists, and originally appeared on the flip to ‘Hey Jude’ (yes that song written by those two) in 1969. It a stripped down and raw version with stinging acoustic guitar picking, and some serious walking bass. Baby John Hinds’ pacey rocker ‘Wild About My Lovin’ from a sole(?) release in 1966 on Chess Records, has a pretty relentless pace to it, which makes you wonder why this was seemingly his only recording.
A real foot stomper is up next with Jawbone’s version of Johnny Cash’s ‘Get Rhythm’. Jawbone is actually Bob Zabor, from Detorit, and is your classic ‘one man band’, although hearing this, you’d think he was fronting a four piece! This came from an album in 2004 ‘Cash Covered’. Big H Williams, is another of those artists who appear to have precious little in the back catalogue, but what is there, is ace. ‘Almost Gone’ could be described as a collection of vocal inflections set to a catchy, if repetitive beat. Whatever, this 1967 beauty on Ivory Records, is a peach, and it’s original form, zipped along for a minute and a half. FTM has doubled that, for which you will be eternally grateful.
Boozoo Chavis (1930-2001) has appeared on more than one FTM compilation, and quite rightly so with his infectious fusion of Zydeco and Cajun music, demonstrated perfectly with ‘Do It All Night Long’. I believe this was an album track from 1987, taking the listener right into Louisiana. Charles Isaiah Ross, (1925-93) known professionally as Doctor Ross, has a sound, and indeed lyrical style unique to himself, often relying on the same lyrics and rhythm in different songs. Indeed ‘Mississippi Blues’ is very similar to ‘Cat Squirrel’ in it’s composition and delivery.
Little Junior Parker and the Blueflames weigh in next with ‘I Wanna Ramble’. Again, Parker’s style surrounding the whole ‘Feelin Good, Feelin’ Bad’ vibe is evident here on the Duke label 45rpm from 1955. Now then, up next is ‘Goin’ Mad Blues’ by Delta John. I heard an interview with John Lee Hooker years ago where he confessed to recording on different record labels under different names, and this is one of them. It’s unmistakeably Hooker, in his earliest style, rapid foot tapping and simple but effective guitar work.
We saw earlier, Junior Parker’s contribution. Now we have Magic Sam’s ‘I Feel Good’, from 1963, which is essentially Parker’s ‘Feelin’ Good’ with a sax. Sam’s version did very well commercially leading to tours of the USA, Great Britain and Germany. Cousin Leroy’s (Rozier) debut single on the mainly Blues label Groove, was a kicking Blues bop sound in 1955 ‘Goin’ Back Home’. Driven along by a thumping drum beat and harmonica, it’s your classic ‘return’ song.
You can’t beat a good old train tune, and here’s one the finest, Bo Diddley’s ‘Catch That Train’, a reworking of ‘Hey Mister Engineer’ from 1961. It sounds like Bo is having a whale of a time recording this tune, basically about a man who had hitched a ride on a train without paying and trying to avoid the engineer. Characteristic Bo ‘chunka-chunka’ beat with maraca and bass providing the train rhythm, and guitar giving the ‘woo woos’. ‘I said hello there!’ Excellent
For the first time, Sonny West’s ‘Jump Around’ is available on CD. If you heard this ‘cold’ chances are you’d think it was straight out of Mississippi. The lyrics are as much an expectation as an instruction, and I defy you not to feel the vibe here. ‘Jump Around’ is the flip to the powerhouse ‘Whiplash’ on a FTM 45 from 2016. Some familiarity for everyone next with John Fred and The Playboys’ ‘Boogie Children’ with a 2021 tag. The song itself was originally a superior 1965 ‘B’ side on the N-Joy record label (Louisiana) to the rather dreary ‘My First Love’. Interestingly both side were written by Lynwood Ourso, although the lyrics of ‘Boogie Children’ owe a lot to John Lee Hooker’s ‘Boogie Chillun’.
R. L. Burnside’s ‘Jumper on the Line’ gets a ballsy update sound-wise from the Flatliners, a latter-day band from Ontario, Canada. Another re-make follows, Corporate Image’s 1966 take on Buddy Holly’s ‘Not Fade Away’, which came out in 1966 on MGM, and was pretty much all they recorded (that I can find!). The Dirty Stones’ ‘Hate To See You Go’, tell you what readers, it don’t half sound like………….
Johnny ‘Big Moose’ Walker (1927-99), was a Chicago based musician who worked with some of the greats of Blues music including Ike Turner, Lowell Fulson and Sonny Boy Williamson. ‘Rambling Woman’ was the title track to his 1970 LP, which also featured Earl Hooker on guitar. Often cited as ‘King of the Slide Guitar’, it’s Holmes County, Mississippi’s Elmore James up next with ‘Cry For Me Baby’, listed here as ‘Cry For You’. This doesn’t feature the slidey sound of the likes of ‘Shake Your Money Maker’ for example, but showcases some serious guitar work on this 1957 zippy lament
OK readers, Little Johnny Burton is new to us, and his output seems to be limited to this track ‘Talkin About Me’, and a connection with Ike Turner. The track was unissued in the 50’s, and appeared on an Ivory Records EP. Betcha love it though! Some mid 60’s Blues next with Jimmy Reed’s ‘Devil’s Shoestring Part II’, a bright and breezy instrumental tune, that was the ‘B’ side of a cracking twin spin from ’64, with ‘I’m Going Upside Your Head’ on the ‘A’. Topping off the release, two Blues forces of nature, Lightnin’ Slim and Schoolboy Cleve (Otis Verris Hicks and Cleveland White respectively) combine on ‘She’s Gone’, a harmonica driven rocker, which is a fitting climax to the track listing.
I can recall getting the very first one in this series, and hearing that track listing all over the Rock n Roll circuit. This one I suspect will create just as much of a buzz among DJs as the first. There’s so much to enjoy on it, and hats off to FTM for continuing to present such quality.
Benny Cliff – repro 45
If DJs and dancers had to list their top twenty floor filling Rockabilly boppers, Benny Cliff’s ‘Shake ‘Em Up Rock’ would feature on a good number of them. A standard for so many years, a lot of folk still have no clue what he’s singing about, or what the words are, but take it from me, ‘blow my whistle, baby start tootin’ your horn’, are lyrics that will stick in your mind forever.
On the ‘B’ side, ‘The Breaking Point’, a kind of blues meets Rockabilly, ramble, with a rather melancholy theme.
If DJs and dancers had to list their top twenty floor filling Rockabilly boppers, Benny Cliff’s ‘Shake ‘Em Up Rock’ would feature on a good number of them. A standard for so many years, a lot of folk still have no clue what he’s singing about, or what the words are, but take it from me, ‘blow my whistle, baby start tootin’ your horn’, are lyrics that will stick in your mind forever.
On the ‘B’ side, ‘The Breaking Point’, a kind of blues meets Rockabilly, ramble, with a rather melancholy theme.
Carl Bonafede – 45rpm repro
Carl Bonafede was born in Little Italy, Chicago in 1940, and performed these two aces with the Gem-Tones. ‘Were Wolf’, is a super Hallowe’en rocker, citing all the horror characters in the lyrics, accompanied by some smooth harmony vocals, and cracking sax breaks. On the flip ‘Story That’s True’, a beauty of a jive track, full sounding with piano, sax and guitar accompaniment.
Love it!
Carl Bonafede was born in Little Italy, Chicago in 1940, and performed these two aces with the Gem-Tones. ‘Were Wolf’, is a super Hallowe’en rocker, citing all the horror characters in the lyrics, accompanied by some smooth harmony vocals, and cracking sax breaks. On the flip ‘Story That’s True’, a beauty of a jive track, full sounding with piano, sax and guitar accompaniment.
Love it!
Carl Perkins – 45rpm repro
Carl Lee Perkins’ (1932-1998) sound pretty much personifies the 50’s Rockabilly era, with his classic songs on Sun Records. He’s a member of the Rock n Roll Hall of Fame, Rockabilly Hall of Fame, Memphis Music Hall of Fame, and Nashville Writers Hall of Fame.
The ‘A’ side is a cover of Louis Jordan’s ‘Caldonia’, written by Jordan’s then wife Fleecie Moore in 1945. Carl presents it with a more rambling style, with piano accompaniment by Jerry Lee Lewis. It was originally the ‘A’ side c/w ‘Sweethearts a Stranger’. On the flip of this though, it’s ‘You Can’t Make Love To Somebody’ from 1955 which was unissued at the time.
Both are cracking tracks readers, excellently presented in a wrap around picture sleeve
Carl Lee Perkins’ (1932-1998) sound pretty much personifies the 50’s Rockabilly era, with his classic songs on Sun Records. He’s a member of the Rock n Roll Hall of Fame, Rockabilly Hall of Fame, Memphis Music Hall of Fame, and Nashville Writers Hall of Fame.
The ‘A’ side is a cover of Louis Jordan’s ‘Caldonia’, written by Jordan’s then wife Fleecie Moore in 1945. Carl presents it with a more rambling style, with piano accompaniment by Jerry Lee Lewis. It was originally the ‘A’ side c/w ‘Sweethearts a Stranger’. On the flip of this though, it’s ‘You Can’t Make Love To Somebody’ from 1955 which was unissued at the time.
Both are cracking tracks readers, excellently presented in a wrap around picture sleeve
Chan Romero EP review
Robert Lee ‘Chan’ Romero, from Billings, Montana, is probably best know for his 1959 hit, ‘Hippy Hippy Shake’. His sound was very much the vein of Ritchie Valens, and here on this Del-Fi repro, is a trio of his finest recordings.
‘My Little Ruby’ is a well known stroller on the Rock n Roll circuit, featuring Romero’s almost desperate sounding vocal style and Rene Hall’s bass arrangement. Then it’s the song that everyone and his dog associates with the Swinging Blue Jeans, ‘Hippy Hippy Shake’. Is the original the best? You decide, but it seems so sad that apparently Chan didn’t receive royalties until the 1990’s. Finally, the pacy rocker, ‘I Want Some More’. At just over one and a half minutes, it’s a real treat.
Robert Lee ‘Chan’ Romero, from Billings, Montana, is probably best know for his 1959 hit, ‘Hippy Hippy Shake’. His sound was very much the vein of Ritchie Valens, and here on this Del-Fi repro, is a trio of his finest recordings.
‘My Little Ruby’ is a well known stroller on the Rock n Roll circuit, featuring Romero’s almost desperate sounding vocal style and Rene Hall’s bass arrangement. Then it’s the song that everyone and his dog associates with the Swinging Blue Jeans, ‘Hippy Hippy Shake’. Is the original the best? You decide, but it seems so sad that apparently Chan didn’t receive royalties until the 1990’s. Finally, the pacy rocker, ‘I Want Some More’. At just over one and a half minutes, it’s a real treat.
Curtis Lee – repro 45
Probably best known for his 1961 smash, ‘Pretty Little Angel Eyes’, Curtis Lee (1939-2015) began his recording career in 1959, with these two tunes now available on a Hot Records repro single.
The ‘A’ side ‘I Never Knew What Love Could Do’ is a kicking jiver, showcasing Lee’s vocal talent, driven along by a rolling piano and drum beat. On the flip, ‘Gotta Have You’ is in a similar mould musically and vocally.
Stick on dancefloor winners
Probably best known for his 1961 smash, ‘Pretty Little Angel Eyes’, Curtis Lee (1939-2015) began his recording career in 1959, with these two tunes now available on a Hot Records repro single.
The ‘A’ side ‘I Never Knew What Love Could Do’ is a kicking jiver, showcasing Lee’s vocal talent, driven along by a rolling piano and drum beat. On the flip, ‘Gotta Have You’ is in a similar mould musically and vocally.
Stick on dancefloor winners
Howlin’ Wolf – repro 45 review
Chester Arthur Bennett (1910-1976), is one of the best-known Chicago Blues artists. He was known as Howlin’ Wolf, originally from Mississippi, he had a booming voice and was an imposing figure on stage at 6’3” tall, and over twenty stone in weight.
Here are two examples of his fine back catalogue from Chess Records. ‘I Didn’t Know’ on the ‘A’ side, is a mid-tempo piano and harmonica led blues beauty, that has dance floor stroller all over it. On the ‘B’ side, ‘Moanin’ For My Baby’ has the classic anguish vocal style and haunting humming from Wolf, that has the ‘Smokestack Lightning’ feel to it.
Chester Arthur Bennett (1910-1976), is one of the best-known Chicago Blues artists. He was known as Howlin’ Wolf, originally from Mississippi, he had a booming voice and was an imposing figure on stage at 6’3” tall, and over twenty stone in weight.
Here are two examples of his fine back catalogue from Chess Records. ‘I Didn’t Know’ on the ‘A’ side, is a mid-tempo piano and harmonica led blues beauty, that has dance floor stroller all over it. On the ‘B’ side, ‘Moanin’ For My Baby’ has the classic anguish vocal style and haunting humming from Wolf, that has the ‘Smokestack Lightning’ feel to it.
Roy Hall – repro 45rpm
Anyone around our vintage will recall the buzz generated by the Rare Rockabilly albums that came out and introduced us to a myriad of different sounds, by artists we’d never heard of before. A lot of those songs are now standards on the Rock n Roll circuits. Such was the case with these two tunes by James Faye ‘Roy’ Hall (1922-84) singer, songwriter and pianist.
‘Three Alley Cats’, is the ‘A’ side, the story of three guys taking a venue by storm, after not being made to feel particularly welcome to start with. This is the Hi-Q records version of the song, a raw and in places ad-libbed rocker, different to the more produced Decca versions for example. It’s also that feline image on the picture sleeve, showing the classic Rockabilly trio look as opposed to the ‘two drums and a trumpet and eighty-eight keys’ in the song
Flip it over, and it’s the equally classic ‘Dig Everybody, Dig That Boogie’, again with the Hi-Q sound, different to the truncated title version many of us first heard.
Well presented visually and a cracking twin spin
NB. At the time of writing the release of this single has been delayed
Anyone around our vintage will recall the buzz generated by the Rare Rockabilly albums that came out and introduced us to a myriad of different sounds, by artists we’d never heard of before. A lot of those songs are now standards on the Rock n Roll circuits. Such was the case with these two tunes by James Faye ‘Roy’ Hall (1922-84) singer, songwriter and pianist.
‘Three Alley Cats’, is the ‘A’ side, the story of three guys taking a venue by storm, after not being made to feel particularly welcome to start with. This is the Hi-Q records version of the song, a raw and in places ad-libbed rocker, different to the more produced Decca versions for example. It’s also that feline image on the picture sleeve, showing the classic Rockabilly trio look as opposed to the ‘two drums and a trumpet and eighty-eight keys’ in the song
Flip it over, and it’s the equally classic ‘Dig Everybody, Dig That Boogie’, again with the Hi-Q sound, different to the truncated title version many of us first heard.
Well presented visually and a cracking twin spin
NB. At the time of writing the release of this single has been delayed
Simon Brothers Club – Ridiculous Moustache
From Buenos Aires, Argentina, we have the Simon Brothers Club and the wonderfully titled ‘Ridiculous Moustache’ four tracker. The cover art is exquisite, and is as thought provoking as the music within, performed by just two players.
Take ‘I Can’t Love You’ for example, a joyful and bouncy Gypsy Jazz sounding tune, set to an acoustic guitar rhythm, and assorted other instruments you’d have with a washboard percussion, bells and whistles (and kazoo!). ‘Before to Love’ has a slight more electric sound, and a similar timbre. The title track, ‘Ridiculous Moustache’, lyrically, reminds us of the styles of Flanders and Swann, for example. Light hearted and clever, in two minutes of jubilance. Finally a slew to the country music style in ‘No Reason’, this definitely wouldn’t be out of place in ‘Midnight Cowboy’.
Cool and pushing the boundaries
From Buenos Aires, Argentina, we have the Simon Brothers Club and the wonderfully titled ‘Ridiculous Moustache’ four tracker. The cover art is exquisite, and is as thought provoking as the music within, performed by just two players.
Take ‘I Can’t Love You’ for example, a joyful and bouncy Gypsy Jazz sounding tune, set to an acoustic guitar rhythm, and assorted other instruments you’d have with a washboard percussion, bells and whistles (and kazoo!). ‘Before to Love’ has a slight more electric sound, and a similar timbre. The title track, ‘Ridiculous Moustache’, lyrically, reminds us of the styles of Flanders and Swann, for example. Light hearted and clever, in two minutes of jubilance. Finally a slew to the country music style in ‘No Reason’, this definitely wouldn’t be out of place in ‘Midnight Cowboy’.
Cool and pushing the boundaries
TT Syndicate – New vinyl release
It’s always good to know when TT Syndicate are releasing new stuff, and this double delight lives up to expectation. The band are from Porto, Portugal, and have been around since 2012, and release this latest Sleazy Records (Malaga, Spain) 45rpm, on white vinyl. The personnel are Pedro Serra - Lead Vocals, Manuel Oliveira – Bass, Nuno Riviera - Lead Guitar, Nuno Gomez – Drums, Lúcio de Jesus - Tenor Saxophone, Rui Silva - Baritone Saxophone, Bruno Rocha - Trumpet
It pairs together to absolutely stunning Rhythm and Soul sounds, with ‘Bossa Nova Blues’ leading the charge as the ‘A’ side, which has a super smooth Samba vibe in the 50’s style, with the brass section to the fore.
On the flip, there’s a tribute to the Congolese Dandies, or Sapeurs from Brazzaville. Sapeurs comes from the acronym La Sape, Société des Ambianceurs et des Personnes Élégantes. ‘Congo Dandy from Cape Town’ highlights the group of people who make elegant sartorial statements, by dressing in the highest end clothing and shoes. You may have seen examples on a recent TV commercial in the UK. This tune, could well accompany one of their meetings, cool and hot in equal measure
Excellent.
It’s always good to know when TT Syndicate are releasing new stuff, and this double delight lives up to expectation. The band are from Porto, Portugal, and have been around since 2012, and release this latest Sleazy Records (Malaga, Spain) 45rpm, on white vinyl. The personnel are Pedro Serra - Lead Vocals, Manuel Oliveira – Bass, Nuno Riviera - Lead Guitar, Nuno Gomez – Drums, Lúcio de Jesus - Tenor Saxophone, Rui Silva - Baritone Saxophone, Bruno Rocha - Trumpet
It pairs together to absolutely stunning Rhythm and Soul sounds, with ‘Bossa Nova Blues’ leading the charge as the ‘A’ side, which has a super smooth Samba vibe in the 50’s style, with the brass section to the fore.
On the flip, there’s a tribute to the Congolese Dandies, or Sapeurs from Brazzaville. Sapeurs comes from the acronym La Sape, Société des Ambianceurs et des Personnes Élégantes. ‘Congo Dandy from Cape Town’ highlights the group of people who make elegant sartorial statements, by dressing in the highest end clothing and shoes. You may have seen examples on a recent TV commercial in the UK. This tune, could well accompany one of their meetings, cool and hot in equal measure
Excellent.
Weldon Rogers – repro 45 EP
Weldon Nelson Rogers (1927-2004) was a singer, songwriter, DJ and producer who with Jean Oliver, founded Je-Wel Records. That was the first label to record the Teen Kings (Roy Orbison )
Here is a three track EP, very well packaged, and containing a trio of rockin’ gems, starting with Weldon himself, performing the bop classic ‘So Long Good Luck Goodbye’. Next up, "Trying to Get You", written by Charles Singleton and Rose Marie McCoy, which was the Teen Kings first ever record. It’s a rambling country/rockabilly tunes, with Roy’s vocals heavily reverbed, also covered by Elvis later on. Finally a corking country bop duet with Weldon and Wanda Wolfe (Rogers), ‘Everybody Wants You’, originally a ‘B’ side from 1959.
Super stuff from Bear Family Records
Like what you've seen? How about dropping us a donation over using the button below. Many thanks
Weldon Nelson Rogers (1927-2004) was a singer, songwriter, DJ and producer who with Jean Oliver, founded Je-Wel Records. That was the first label to record the Teen Kings (Roy Orbison )
Here is a three track EP, very well packaged, and containing a trio of rockin’ gems, starting with Weldon himself, performing the bop classic ‘So Long Good Luck Goodbye’. Next up, "Trying to Get You", written by Charles Singleton and Rose Marie McCoy, which was the Teen Kings first ever record. It’s a rambling country/rockabilly tunes, with Roy’s vocals heavily reverbed, also covered by Elvis later on. Finally a corking country bop duet with Weldon and Wanda Wolfe (Rogers), ‘Everybody Wants You’, originally a ‘B’ side from 1959.
Super stuff from Bear Family Records
Like what you've seen? How about dropping us a donation over using the button below. Many thanks
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, or you run a record label or shop, you can advertise with us as well. Anything associated with our music scene, or 1940’s, 1950’s related. We will include a brief article on your company and services as well with your advert. We will be emailing many of you in this regard too.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. 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. We do not plagiarise unlike some other sites.
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.
As we may be able to get out and about soon, if you want us to cover your event or club night, please get in touch
Photographs in this magazine have been provided by the subjects for use here, or are from our own library.
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. We do not plagiarise unlike some other sites.
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.
As we may be able to get out and about soon, if you want us to cover your event or club night, please get in touch
Photographs in this magazine have been provided by the subjects for use here, or are from our own library.
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
