the bettajive review magazine #18
Lisa Briggs of the Hot House Four on stage at the Cooking Club event at the MFN venue. A real event with real people and live music, and we were front, centre, right and left to bring you the review below.
At the time of writing, we are waiting for the UK Government is due to make an announcement regarding Covid-19 restrictions in England. Until then however, there are restrictions still in place, and we should act upon them. The MFN event complied with all guidelines
At the time of writing, we are waiting for the UK Government is due to make an announcement regarding Covid-19 restrictions in England. Until then however, there are restrictions still in place, and we should act upon them. The MFN event complied with all guidelines
The Bettajive Review
MC Hammer :) Don’t worry regular readers, we haven’t gone all big gold trousers and ‘U Can’t Touch This’ on you. Now then readers, over the years, I’ve taken a left field view of the scene we call rockin’ and most facets thereof. Today, we’ll look at a small band of pivotal people who take the stage at events, your Master of Ceremonies, hereinafter known as the MC (caused I can’t be a*sed to type it in full).
How many readers recall the MC on the BBC’s ‘The Good Old Days’? Leonard Sachs, and his gavel, introducing the turns on the stage in the 1970’s with people in the audience in period Edwardian costume? The program ran from ’53-‘83. Garrulous descriptions, greeted by gales of laughter and woos. My Nana sat in our lounge with a copy of ‘The People’s Friend’ magazine (other weekly story publications are available), joining in with the songs.
Now of course, we are unlikely ever to see the crowd at the Rockabilly Rave on the Saturday night, led by Del Villarael, rhythmically swaying, and regaling to ‘Down at the Old Bull and Bush’, however the MC is the veritable lubrication that can keep an event running. It’s never plain sailing for them though I’m sure you readers will appreciate…
Mind you, some of the clichés that are used by some MCs, can hoist them with their own petard. A favourite is ‘This act taking the stage now, need no introduction’. So, get off the flamin’ stage and let them sing already! And what’s this ‘All the way from’ all about? Even the less cerebrally adept should be able to work out that if someone on stage is from a different country than where you currently are, it’s likely to have been a long journey for them. Or is it irony?
Then there’s the ‘I’ve known them since’ MC. The guys about to take the stage have been doing this since they were teenagers. ‘I knew (insert lead singer’s name) when he was in the Urinal Blue Cubes in the eighties in (insert fashionable city)’. *Yawn*. Worse still, is if it’s an original fifties artist, must find a tenuous link. ‘I’ve been backstage’ (‘cos you’re all commoners and you’re not allowed there) ‘Talking to (insert 50’s artist’s name here) about when he bought a burger on the A1 in 1986 and it was cold’ …..cue collective eye rolling…..
Or there are the ones that come out with verbal howlers like ‘He was one half of the trio…’ (actual quote). ‘There are those who have seen this band, and those who haven’t. Those that haven’t are about to’ No s***! And the poor soul that blasphemes without realising the mic is open. You’re never alone with a microphone J
You may think that I don’t appreciate the work of the MC, you’d be wrong. It must be a most thankless task at times, especially if the event they’re MC-ing at, is as flat as a flounder convention drinking Night Nurse (other cold and flu symptom relief products are available). Trying to garner some enthusiasm with an audience afflicted with rigor mortis, must be toe curling if you’re on stage bigging up an act. Even bellowing in triple repetition of the event name, or the location, at the audience sometimes doesn’t work. ‘Ahhhhh London London Londonnnnnnnn. Are you ready for some live Rock n Roll?’. Silence, save for some sage brush rolling by, an asthmatic cough and a barely audible distant coyote howl. ‘I said, ARE-----YOU----READY----FOR----SOME-----LIVE-----ROCK ‘N’ ROLL?’. A solitary voice calls out a ‘yeah’ (though they have probably just been bitten by the coyote). ‘Then let’s have a big (event name) welcome for the (insert name of turn). Act comes on to polite ripple of clappage.
Flip that, to when the MC has made a great job of introducing the act, maximising the anticipation in the audience, only to watch the ensuing forty five minutes through the gaps in their fingers where the act is dying on it’s gluteus maximus. Those that are still left in the room at the end of the show, give the MC the daggers look as they wincingly ask the crowd ‘Do you want one more’. Thing is readers, a chorus of ‘No’ can indeed sound like ‘More’, so the shrewd MC can get the act back on in all good faith.
Then the MC has to deal with the act that just will not get off the stage, despite the protestations of the audience. Or the other way around, a band that the crowd want to keep on playing but the stage needs clearing. At one event we were at, I had visions of the MC being lynched if he’d have even stepped out from behind the curtain, so ace was the band’s set. Why, if they are ever going to, do the lights always go out when the MC is making an announcement, and of course if it’s a weekender you get hundreds of voices shouting ‘Wayhayyyyy---ah!’.
The good MCs have an almost encyclopaedic knowledge of the act they’re about to bring on, their record label and current recordings for example, and they articulate it in a fashion that draws the crowd to the stage. Their stage outfit is sharp, so sharp, the creases in their trousers could slice cucumber, which is also as cool as they are. The act is on a high before they’ve even struck a note, it’s their stage, our MC is done, well for the next forty five minutes anyway.
MC Hammer :) Don’t worry regular readers, we haven’t gone all big gold trousers and ‘U Can’t Touch This’ on you. Now then readers, over the years, I’ve taken a left field view of the scene we call rockin’ and most facets thereof. Today, we’ll look at a small band of pivotal people who take the stage at events, your Master of Ceremonies, hereinafter known as the MC (caused I can’t be a*sed to type it in full).
How many readers recall the MC on the BBC’s ‘The Good Old Days’? Leonard Sachs, and his gavel, introducing the turns on the stage in the 1970’s with people in the audience in period Edwardian costume? The program ran from ’53-‘83. Garrulous descriptions, greeted by gales of laughter and woos. My Nana sat in our lounge with a copy of ‘The People’s Friend’ magazine (other weekly story publications are available), joining in with the songs.
Now of course, we are unlikely ever to see the crowd at the Rockabilly Rave on the Saturday night, led by Del Villarael, rhythmically swaying, and regaling to ‘Down at the Old Bull and Bush’, however the MC is the veritable lubrication that can keep an event running. It’s never plain sailing for them though I’m sure you readers will appreciate…
Mind you, some of the clichés that are used by some MCs, can hoist them with their own petard. A favourite is ‘This act taking the stage now, need no introduction’. So, get off the flamin’ stage and let them sing already! And what’s this ‘All the way from’ all about? Even the less cerebrally adept should be able to work out that if someone on stage is from a different country than where you currently are, it’s likely to have been a long journey for them. Or is it irony?
Then there’s the ‘I’ve known them since’ MC. The guys about to take the stage have been doing this since they were teenagers. ‘I knew (insert lead singer’s name) when he was in the Urinal Blue Cubes in the eighties in (insert fashionable city)’. *Yawn*. Worse still, is if it’s an original fifties artist, must find a tenuous link. ‘I’ve been backstage’ (‘cos you’re all commoners and you’re not allowed there) ‘Talking to (insert 50’s artist’s name here) about when he bought a burger on the A1 in 1986 and it was cold’ …..cue collective eye rolling…..
Or there are the ones that come out with verbal howlers like ‘He was one half of the trio…’ (actual quote). ‘There are those who have seen this band, and those who haven’t. Those that haven’t are about to’ No s***! And the poor soul that blasphemes without realising the mic is open. You’re never alone with a microphone J
You may think that I don’t appreciate the work of the MC, you’d be wrong. It must be a most thankless task at times, especially if the event they’re MC-ing at, is as flat as a flounder convention drinking Night Nurse (other cold and flu symptom relief products are available). Trying to garner some enthusiasm with an audience afflicted with rigor mortis, must be toe curling if you’re on stage bigging up an act. Even bellowing in triple repetition of the event name, or the location, at the audience sometimes doesn’t work. ‘Ahhhhh London London Londonnnnnnnn. Are you ready for some live Rock n Roll?’. Silence, save for some sage brush rolling by, an asthmatic cough and a barely audible distant coyote howl. ‘I said, ARE-----YOU----READY----FOR----SOME-----LIVE-----ROCK ‘N’ ROLL?’. A solitary voice calls out a ‘yeah’ (though they have probably just been bitten by the coyote). ‘Then let’s have a big (event name) welcome for the (insert name of turn). Act comes on to polite ripple of clappage.
Flip that, to when the MC has made a great job of introducing the act, maximising the anticipation in the audience, only to watch the ensuing forty five minutes through the gaps in their fingers where the act is dying on it’s gluteus maximus. Those that are still left in the room at the end of the show, give the MC the daggers look as they wincingly ask the crowd ‘Do you want one more’. Thing is readers, a chorus of ‘No’ can indeed sound like ‘More’, so the shrewd MC can get the act back on in all good faith.
Then the MC has to deal with the act that just will not get off the stage, despite the protestations of the audience. Or the other way around, a band that the crowd want to keep on playing but the stage needs clearing. At one event we were at, I had visions of the MC being lynched if he’d have even stepped out from behind the curtain, so ace was the band’s set. Why, if they are ever going to, do the lights always go out when the MC is making an announcement, and of course if it’s a weekender you get hundreds of voices shouting ‘Wayhayyyyy---ah!’.
The good MCs have an almost encyclopaedic knowledge of the act they’re about to bring on, their record label and current recordings for example, and they articulate it in a fashion that draws the crowd to the stage. Their stage outfit is sharp, so sharp, the creases in their trousers could slice cucumber, which is also as cool as they are. The act is on a high before they’ve even struck a note, it’s their stage, our MC is done, well for the next forty five minutes anyway.
A real memory came up on Facebook a couple of weeks ago, courtesy of Perry Williamson. An event in my home town of Halstead, featuring local band, Rockhouse, from Sudbury, in (we think) 1980. Rockhouse are still going with bassist Bob Plumb who we interviewed in issue #2 available in the archives. He can be seen top left of the pic, unsurprisingly, on bass.
Me? Bottom row, kneeling, white jacket, black shirt and black pegs. All the boys out rocking
Me? Bottom row, kneeling, white jacket, black shirt and black pegs. All the boys out rocking
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Dot…dot. Best tracks in the world ever ever to put the blond roux in your Velouté for this month are Sonny Burgess’ ‘Tomorrow Night’, Pep Torres’ ‘Hep To The Step’ and Lefty Frizzell ‘You’re Humbuggin’ Me’ ……Resurrecting an old fave feature from years ago, ‘Things that even ’56 Elvis couldn’t look cool doing’ starting with greasing up a quiff then trying to put a T-shirt on afterwards……Johnny Carroll’s ‘Trudy’, ‘I got a gal, Trudy is her name, she don’t love me but I chose her just the same’. Might I suggest, you actually don’t have a gal then?........*The Sweet Georgia Boys are a trumpet away from being ‘Three Alley Cats’…….
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Like what you see? Help us keep it free by popping a donation over using the button below. Many thanks
Here is the revised line up for the Rockabilly Blowout, postponed from 2020. This is the charity fundraiser for Asthma UK in memory of James Robson
Contact them for further details about booking and indeed if you are carrying over your bookings. A great line up I think you'll all agree. Click on the flyer to take you to the event page.
Contact them for further details about booking and indeed if you are carrying over your bookings. A great line up I think you'll all agree. Click on the flyer to take you to the event page.
interview with razor holler
It was the Rock Ridge Rumble event that first introduced us to this four-piece from the North West of England. With lead singer, Rusty Williams accomplished vocals and slightly dry humour, complemented by Helen Blank on bass, Danny Ibison on lead guitar and drummer Alan Bentley, the band mix up the rock ‘n’ roll flavours both on stage and on record.
Just as the Covid-19 pandemic hit, they released their first album (reviewed by us in issue #9 of our magazine), and the last time we actually saw them ‘live’ was the online Music Making a Difference event in July ’20. With the hope of restrictions being lifted soon, they have a good number of dates in the diary for you all to catch them live.
For those who are unfamiliar with the band, here’s a Q & A to introduce them.
Just as the Covid-19 pandemic hit, they released their first album (reviewed by us in issue #9 of our magazine), and the last time we actually saw them ‘live’ was the online Music Making a Difference event in July ’20. With the hope of restrictions being lifted soon, they have a good number of dates in the diary for you all to catch them live.
For those who are unfamiliar with the band, here’s a Q & A to introduce them.
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BJR. First things first, when / how did you all get into 50’s style Rock n Roll?
RH: It’s pretty much always been there … like most people I think it came from the family to begin with. It’s an unfashionable thought but a lot came via The Beatles’ influence too, noticing that people like Carl Perkins and Chuck Berry wrote a bunch of their songs … dig deeper and you find wonderful stuff like The Coasters and Larry Williams … marvellous!
BJR. How and where were was the band formed, and how did you arrive at the name Razor Holler?
RH: We had a collective idea of the noise we wanted to make - playing the sort of stuff you’d hear in a juke joint somewhere, y’ know, people dancing, drinking and generally having a time of it … that’s kind of where the band name came from – we want to raise a fuss, raise a holler, like Eddie said.
BJR. Had you all been members of other bands before?
RH: Yeah - Variety’s the spice of life / That’s what the judge is gonna tell my wife (can we reference The Doors in this fine publication?)
BJR. Of course, you can mention The Doors, no need to ask. People are strange - see what I did there (high fives an imaginary crowd) Back to the Q & A. Who are your musical influences, artists from the past and / or the present day
RH: Rock’n’roll is an attitude as much as anything, we love it in all its forms and will listen to pretty much anything! We have some influences that would surprise people but we’ll keep those hidden for now J … Hold a gun to our heads and we’ll have to admit that you can’t go wrong with George Jones and Johnny Horton. From the present-day people like Dale Watson, Marti Brom and Asleep at the Wheel are kicking it …
BJR. The LP you’ve released mixed covers and original material (Don’t Be So Picky and Rheumatism Boogie spring to mind). Who’s the composer, and do you do words and music or collaborate with the band to produce the songs?
RH: Original material is important to us and we’ll have plenty more on the next release. One of the few good things about the lockdown was that it gave us plenty of time for writing and honing new songs … too much time really! … so far, the writing has been split between Rusty & Danny, the actual arrangements are a group thing and the best idea wins!
BJR. Have you been able to work together, or rehearse during the pandemic, other than the event mentioned above?
RH: No – we’re not really fans of the virtual. We tried to rig up a way of playing together via jamming software, but it took years off our lives and only accomplished the accidental online gate-crashing of some band rehearsing in Germany.
BJR. WHEN we can all go out again and see bands play live again, what’s the main thing you’re looking forward to most?
RH: We’re looking forward to seeing bands play live again! Also wearing actual shoes, drinking draught beer, seeing if Rusty can remember any words …
BJR. Are there any particular songs that are ‘must plays’ in a Razor Holler show? Personal favourites?
RH: We all love ‘You’re Crazy for Taking the Bus’ – a Jonathan Richman cover, because, well – who doesn’t like a song about the pros and cons of modes of transport? Also, Rheumatism Boogie from our album ‘cos we can’t wait to be jumpin’ from six to five past six (anything else is a bonus).
BJR. Finally how can people get in touch with the band, for info on booking and purchase of merchandise
RH: You can find a gig list and contact details at our Facebook page. We have a shop there too where you satisfy your thirst for RH paraphernalia … drop by and holler at us!
facebook.com/razorholler
Thanks for having us!
Like what you see? Help us keep it free by popping us a donation over by using the button below. Many thanks
RH: It’s pretty much always been there … like most people I think it came from the family to begin with. It’s an unfashionable thought but a lot came via The Beatles’ influence too, noticing that people like Carl Perkins and Chuck Berry wrote a bunch of their songs … dig deeper and you find wonderful stuff like The Coasters and Larry Williams … marvellous!
BJR. How and where were was the band formed, and how did you arrive at the name Razor Holler?
RH: We had a collective idea of the noise we wanted to make - playing the sort of stuff you’d hear in a juke joint somewhere, y’ know, people dancing, drinking and generally having a time of it … that’s kind of where the band name came from – we want to raise a fuss, raise a holler, like Eddie said.
BJR. Had you all been members of other bands before?
RH: Yeah - Variety’s the spice of life / That’s what the judge is gonna tell my wife (can we reference The Doors in this fine publication?)
BJR. Of course, you can mention The Doors, no need to ask. People are strange - see what I did there (high fives an imaginary crowd) Back to the Q & A. Who are your musical influences, artists from the past and / or the present day
RH: Rock’n’roll is an attitude as much as anything, we love it in all its forms and will listen to pretty much anything! We have some influences that would surprise people but we’ll keep those hidden for now J … Hold a gun to our heads and we’ll have to admit that you can’t go wrong with George Jones and Johnny Horton. From the present-day people like Dale Watson, Marti Brom and Asleep at the Wheel are kicking it …
BJR. The LP you’ve released mixed covers and original material (Don’t Be So Picky and Rheumatism Boogie spring to mind). Who’s the composer, and do you do words and music or collaborate with the band to produce the songs?
RH: Original material is important to us and we’ll have plenty more on the next release. One of the few good things about the lockdown was that it gave us plenty of time for writing and honing new songs … too much time really! … so far, the writing has been split between Rusty & Danny, the actual arrangements are a group thing and the best idea wins!
BJR. Have you been able to work together, or rehearse during the pandemic, other than the event mentioned above?
RH: No – we’re not really fans of the virtual. We tried to rig up a way of playing together via jamming software, but it took years off our lives and only accomplished the accidental online gate-crashing of some band rehearsing in Germany.
BJR. WHEN we can all go out again and see bands play live again, what’s the main thing you’re looking forward to most?
RH: We’re looking forward to seeing bands play live again! Also wearing actual shoes, drinking draught beer, seeing if Rusty can remember any words …
BJR. Are there any particular songs that are ‘must plays’ in a Razor Holler show? Personal favourites?
RH: We all love ‘You’re Crazy for Taking the Bus’ – a Jonathan Richman cover, because, well – who doesn’t like a song about the pros and cons of modes of transport? Also, Rheumatism Boogie from our album ‘cos we can’t wait to be jumpin’ from six to five past six (anything else is a bonus).
BJR. Finally how can people get in touch with the band, for info on booking and purchase of merchandise
RH: You can find a gig list and contact details at our Facebook page. We have a shop there too where you satisfy your thirst for RH paraphernalia … drop by and holler at us!
facebook.com/razorholler
Thanks for having us!
Like what you see? Help us keep it free by popping us a donation over by using the button below. Many thanks
Hemsby in November 2021
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New for 2021
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Bill Guntrip's, Hemsby Rock n Roll Weekender is back in November 2021, with an all UK line up of bands and DJs. Click on the flyer for details and bookings
And in spring 2022, a brand new event in Cambridgeshire. Again this event in 2021 was victim to Covid, but the line up is pretty much the same. Click on the flyer for details
And in spring 2022, a brand new event in Cambridgeshire. Again this event in 2021 was victim to Covid, but the line up is pretty much the same. Click on the flyer for details
J G and the Ultimates
It's been a year….. That could’ve been the name of this Cooking Club event, as it must have been the most used phrase during the afternoon of May 29th. The venue, yes you read that right, readers, a real venue, was the Miles From Nowhere establishment, Shipley Gate, Eastwood, Nottinghamshire. People were out, and as Mickey Flannagan says, they were ‘out-out’, as was the sun, that strange glowing ball of heat in the sky, making a welcome appearance after a month of what seemed continuous rain.
This open air afternoon and evening shindig, was due to the combined efforts of Shane Bhayat and John Jackson, who put on four bands and three DJs. The Rock ‘n’ Roll crowd responded by contributing to a sell-out, a number of weeks in advance. Sure, some of it could be put down to the lifting of Covid restrictions, and finally a gig had come up, but I would venture that the quality of this line up had a lot to do with it.
With cars on the grass and camping on the shale area, the site was busy but never seemed too packed, room for, dare we mention, social distancing. The first of the bands were ready to go at 3pm, J G and the Ultimates.
Jay Gipson leads the band on vocals and guitar, backed by Rich Lyon on upright bass, drummer Mark Morgan, Steve Croft on keyboard and saxophonist Karl Hird. Together they blend Rhythm and Blues with some soulful Rock ‘n’ Roll, spanning the late forties through to the early sixties. And they hit the ground running with a powerhouse instrumental, I believe called ‘Chicken Shack’. The vocal stuff was equally powerful, like the rendition of Nick Curran’s ‘This Time I’m Out The Door’, Mike Pedecin’s styled ‘Burnt Toast and Black Coffee’, and Wynonie Harris’ ‘Bloodshot Eyes’. As well as a fine guitarist, Jay is an accomplished Blues shouter too.
You only have to check out their version of Charles Sheffield ‘It’s Your Voodoo Working’ and the kicking take on ‘You Little Babyface Thing’, Joe Tex’s 1958 frantic screamer in the Little Richard vocal style. We weren’t finished there, with the likes of Little Willie John’s King smasher ‘I’m Shakin’ and Roy Montrell’s ‘Mellow Saxophone’, plus an original track ‘Hide It From Your Daddy’. To round off, a lyrically modified take on ‘Shake Your Moneymaker’, featuring some seriously cool slide guitar. Cracking set, an hour of jumping delights.
This open air afternoon and evening shindig, was due to the combined efforts of Shane Bhayat and John Jackson, who put on four bands and three DJs. The Rock ‘n’ Roll crowd responded by contributing to a sell-out, a number of weeks in advance. Sure, some of it could be put down to the lifting of Covid restrictions, and finally a gig had come up, but I would venture that the quality of this line up had a lot to do with it.
With cars on the grass and camping on the shale area, the site was busy but never seemed too packed, room for, dare we mention, social distancing. The first of the bands were ready to go at 3pm, J G and the Ultimates.
Jay Gipson leads the band on vocals and guitar, backed by Rich Lyon on upright bass, drummer Mark Morgan, Steve Croft on keyboard and saxophonist Karl Hird. Together they blend Rhythm and Blues with some soulful Rock ‘n’ Roll, spanning the late forties through to the early sixties. And they hit the ground running with a powerhouse instrumental, I believe called ‘Chicken Shack’. The vocal stuff was equally powerful, like the rendition of Nick Curran’s ‘This Time I’m Out The Door’, Mike Pedecin’s styled ‘Burnt Toast and Black Coffee’, and Wynonie Harris’ ‘Bloodshot Eyes’. As well as a fine guitarist, Jay is an accomplished Blues shouter too.
You only have to check out their version of Charles Sheffield ‘It’s Your Voodoo Working’ and the kicking take on ‘You Little Babyface Thing’, Joe Tex’s 1958 frantic screamer in the Little Richard vocal style. We weren’t finished there, with the likes of Little Willie John’s King smasher ‘I’m Shakin’ and Roy Montrell’s ‘Mellow Saxophone’, plus an original track ‘Hide It From Your Daddy’. To round off, a lyrically modified take on ‘Shake Your Moneymaker’, featuring some seriously cool slide guitar. Cracking set, an hour of jumping delights.
Willy Briggs
Next up, a contrast in style, with the Hot House Four/Combo, Willie Briggs, Lisa Briggs, Dan Morley and Tim Heming and their style of Western Swing music. Multi instrumentalists and multi-talented, this four piece demonstrated a master-class of the genre, mixing a couple of their own tunes with some classics. What’s involved? Guitar(s), bass, accordion, steel guitar, clarinet, washboard, kazoo, harmonica, note also, no drums (purists, we don’t need an explanation as to why) You can’t beat a bit of train beat to start with, as in the Delmore Brothers’ 1946 King cut, ‘Freight Train Boogie’, and a novelty bounce with Johnnie Lee Wills’ ‘The Thingamajig’ with Dan on main vocals. The vocals are shared as well as the instruments, with Lisa taking lead on ‘Oakie Boogie’, a model upbeat bop beat tune, sounding ace.
Then there’s the original stuff, only a couple in this set, the expertly crafted ‘Takeaway Alley’ which everyone would recognise in their own towns and cities, and the sauce-pot lyrics of ‘Here Pussy Pussy’, a title you may not want to look up on search engines! Recalling the Rhythm Riot of a (few) years ago and the Pee Wee King tribute show, the combo have kept ‘You Can’t Hardly Get Them No More’ from 1955 in their set. It’s perfectly suited to their style and perfectly delivered every time.
Two rarely heard/played Roy Hogsed tracks got the Willy Briggs vocal treatment, ‘Too Many Chiefs and Not Enough Indians’ and ‘Snake Dance Boogie’, again well suited to the combo’s raison d’etre, especially the accordion solos. Every time we’ve seen the band, they top off with ‘Mama Don’t Allow’, where everyone gets a showcase on their instruments, and with the talent on show here, you get the ‘twelve inch’ version (for those who remember that format). Just an excellent show folks.
At this point we must make mention of the DJs for the day, Clive Hodgson, Rob Daniels and Daniel Froggatt. Each one mixed the classic with the cool and unusual. R&B, Rockabilly, Jump Jive, Rock ‘n’ Roll and most points in between, something for everyone.
Then there’s the original stuff, only a couple in this set, the expertly crafted ‘Takeaway Alley’ which everyone would recognise in their own towns and cities, and the sauce-pot lyrics of ‘Here Pussy Pussy’, a title you may not want to look up on search engines! Recalling the Rhythm Riot of a (few) years ago and the Pee Wee King tribute show, the combo have kept ‘You Can’t Hardly Get Them No More’ from 1955 in their set. It’s perfectly suited to their style and perfectly delivered every time.
Two rarely heard/played Roy Hogsed tracks got the Willy Briggs vocal treatment, ‘Too Many Chiefs and Not Enough Indians’ and ‘Snake Dance Boogie’, again well suited to the combo’s raison d’etre, especially the accordion solos. Every time we’ve seen the band, they top off with ‘Mama Don’t Allow’, where everyone gets a showcase on their instruments, and with the talent on show here, you get the ‘twelve inch’ version (for those who remember that format). Just an excellent show folks.
At this point we must make mention of the DJs for the day, Clive Hodgson, Rob Daniels and Daniel Froggatt. Each one mixed the classic with the cool and unusual. R&B, Rockabilly, Jump Jive, Rock ‘n’ Roll and most points in between, something for everyone.
Jim Hammond
Where do we go next then? The Sweet Georgia Boys*, Jim Hammond on keyboards and Bill Crittenden on drums. That’s it. Anyone thinking that with just two instruments, the sound could be a little one dimensional, think again. Jim is a consummate keyboardist, rattling through the Freddie Slack and Will Bradley 1940 classic, ‘Down The Road A Piece’ to open the show, with Charlie Gracie’s ‘Hard Like a Rock’ hot on the heels.
Bill took vocals, reciting ‘Ain’t Giving Up Nothing’ in Ben Hewitt’s style, and then his own composition ‘Heartbreak Town’, a super cool track, the vocal delivery of which sounds very much like Raul Malo. Also in need of flagging up is Jim’s own composition ‘How Do I Tell Her’. I think if I was to pick a favourite cover they do, it would be the Everly Brothers’ ‘When Will I Be Loved’, which preceded a storming cover of Smiley Lewis’ ‘Shame, Shame, Shame’.
They rocked out to two Chuck tracks, ‘Promised Land’ and ‘Let It Rock’, before Joe Turner’s ‘Jump For Joy’ rounded everything off superbly. Top drawer stuff readers
The final act of the day, Cooking Jack Fats and the Chimney Stacks. Now we’d seen another incarnation of Jack Fats some years ago at Viva Chez Vegas, however the personnel is different now. We have also reviewed a demo CD (Issue #6 in the archives of this magazine), and during this performance, we got the latest two-tracker (see elsewhere in this issue).
Bill took vocals, reciting ‘Ain’t Giving Up Nothing’ in Ben Hewitt’s style, and then his own composition ‘Heartbreak Town’, a super cool track, the vocal delivery of which sounds very much like Raul Malo. Also in need of flagging up is Jim’s own composition ‘How Do I Tell Her’. I think if I was to pick a favourite cover they do, it would be the Everly Brothers’ ‘When Will I Be Loved’, which preceded a storming cover of Smiley Lewis’ ‘Shame, Shame, Shame’.
They rocked out to two Chuck tracks, ‘Promised Land’ and ‘Let It Rock’, before Joe Turner’s ‘Jump For Joy’ rounded everything off superbly. Top drawer stuff readers
The final act of the day, Cooking Jack Fats and the Chimney Stacks. Now we’d seen another incarnation of Jack Fats some years ago at Viva Chez Vegas, however the personnel is different now. We have also reviewed a demo CD (Issue #6 in the archives of this magazine), and during this performance, we got the latest two-tracker (see elsewhere in this issue).
Cooking Jack Fats
The final act of the day, Cooking Jack Fats and the Chimney Stacks. Now we’d seen another incarnation of Jack Fats some years ago at Viva Chez Vegas, however the personnel is different now. We have also reviewed a demo CD (Issue #6 in the archives of this magazine), and during this performance, we got the latest two-tracker (see elsewhere in this issue).
Here we go with a rousing version of ‘Ooh La La’ and the rollocking ‘Put Your Arms Around Me’, which set the tone for a smashing set of Rhythm and Blues. Smiley’s ‘Hook, Line and Sinker’ rocked with lead singer Jacko strutting his stuff across the stage, ably supported by JD England on lead guitar, Kate Whittaker on upright bass, Saxophone Bobby Brooks, piano and sax Guy Turner, drums Andy Flude
So much to appreciate as the daylight faded into dusk and the stage lights enhanced the show. The Playboys’ ‘Shirley’ got the strollers out as did ‘Chills and Fever’ and ‘Midnight Blues’. It’s rare that you’ll hear a cover of Charlie Rich’s ‘Lonely Weekends’, but here it was, and really well done it was too. So was the belting take on Roy Montrell’s ‘Ooo Wow’ and Roddy Jackson’s ‘I’ve Got My Sights on Someone New’. ‘Voodoo Working’ got a second outing of the day before a bop classic finished the initial set off. ‘You Don’t Love Me’ was a terrific tune to end a memorable set and filled stage front with enthusiastic boppers. Naturally they were called back for one more and Young Jessie’s ‘Hit Git and Split’ slotted in perfectly.
I don’t think anyone will deny me saying that this was the best gig we’ve been to this year (sic). Well run, well organised and four bands presenting different styles and rhythms. A top day out
Below are some pictures from the day in gallery format, click on them individually to view the full size image. All images are (c) Andrew Smith, June Smith and the Bettajive Review
Here we go with a rousing version of ‘Ooh La La’ and the rollocking ‘Put Your Arms Around Me’, which set the tone for a smashing set of Rhythm and Blues. Smiley’s ‘Hook, Line and Sinker’ rocked with lead singer Jacko strutting his stuff across the stage, ably supported by JD England on lead guitar, Kate Whittaker on upright bass, Saxophone Bobby Brooks, piano and sax Guy Turner, drums Andy Flude
So much to appreciate as the daylight faded into dusk and the stage lights enhanced the show. The Playboys’ ‘Shirley’ got the strollers out as did ‘Chills and Fever’ and ‘Midnight Blues’. It’s rare that you’ll hear a cover of Charlie Rich’s ‘Lonely Weekends’, but here it was, and really well done it was too. So was the belting take on Roy Montrell’s ‘Ooo Wow’ and Roddy Jackson’s ‘I’ve Got My Sights on Someone New’. ‘Voodoo Working’ got a second outing of the day before a bop classic finished the initial set off. ‘You Don’t Love Me’ was a terrific tune to end a memorable set and filled stage front with enthusiastic boppers. Naturally they were called back for one more and Young Jessie’s ‘Hit Git and Split’ slotted in perfectly.
I don’t think anyone will deny me saying that this was the best gig we’ve been to this year (sic). Well run, well organised and four bands presenting different styles and rhythms. A top day out
Below are some pictures from the day in gallery format, click on them individually to view the full size image. All images are (c) Andrew Smith, June Smith and the Bettajive Review
Another new event for 2021
Juniper Fayre
40s/50s/60s VINTAGE MARKET & CLASSIC CAR/BIKE SHOW - NO.1
* VINTAGE/RETRO TRADE STALLS
* HOT FOOD CHUCK WAGON
* MOBILE PIZZA STALL
* VINTAGE TEA STALL
* LICENSED BAR
* LIVE MUSIC from 6 BANDs
* 6 DJ's Spinnin their WILD WAX for you spanning 3 amazing decades
* plus much more to be announced soon.
ADULT EARLY BIRD TICKETS - £30.00 ea (ticket price + £1.75 ticket service fees)
Adults : £35.00 each (ticket price + £1.75 ticket service fees)
Kids : 6 -16 £5.00 each (ticket price + £0.75 ticket service fees)
Kids : 5yrs and under FREE
DAY TICKETS - Saturday or Sunday
Adults : £25.00 each (ticket price + £1.75 ticket service fees)
Kids : 6 -16 £5.00 each (ticket price + £0.75 ticket service fees)
Kids : 5yrs and under FREE
THIS IS A PREPAID TICKET EVENT - purchase via PayPal - [email protected]
*** payment plan can be arranged for those who need it.***
40s/50s/60s VINTAGE MARKET & CLASSIC CAR/BIKE SHOW - NO.1
* VINTAGE/RETRO TRADE STALLS
* HOT FOOD CHUCK WAGON
* MOBILE PIZZA STALL
* VINTAGE TEA STALL
* LICENSED BAR
* LIVE MUSIC from 6 BANDs
* 6 DJ's Spinnin their WILD WAX for you spanning 3 amazing decades
* plus much more to be announced soon.
ADULT EARLY BIRD TICKETS - £30.00 ea (ticket price + £1.75 ticket service fees)
Adults : £35.00 each (ticket price + £1.75 ticket service fees)
Kids : 6 -16 £5.00 each (ticket price + £0.75 ticket service fees)
Kids : 5yrs and under FREE
DAY TICKETS - Saturday or Sunday
Adults : £25.00 each (ticket price + £1.75 ticket service fees)
Kids : 6 -16 £5.00 each (ticket price + £0.75 ticket service fees)
Kids : 5yrs and under FREE
THIS IS A PREPAID TICKET EVENT - purchase via PayPal - [email protected]
*** payment plan can be arranged for those who need it.***
Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio.
cd and vinyl reviews
Here's a selection of reviews of releases currently available. Bim Bam Records carries most stock, and you can visit by clicking the banner above
FTM In the Groove – Part Seven, CD review
Let’s face it readers, Lockdown and Covid has been miserable, but the one consistent during the pandemic has been the quality releases from Flat Top Mark’s FTM label. Here we are with the seventh issue of the ‘In The Groove Series’, another journey into the vaults to search out the unusual, the eclectic and the diverse.
Keeping with the theme of other issues, we open with an instrumental track and some dialogue. This time it’s Ray Liotta, in Goodfellas, directed in 1990 by Martin Scorsese, which heralds the start of John Barry’s ‘Beat Girl’, the title track to the 1960 film of the same name starring Gillian Hills and Adam Faith. The John Barry Seven were active from ’57-65 and produced some memorable sounds, of which, this is one!
The Venturas’ ‘Corrido Twist’ is also an instro track, crossing the twist sound of the early sixties, with a surf sound. It was originally an ‘A’ side on the Donna label out of California, and looks like their only single release. Keeping up with the instrumentals ‘Rock-a-Nova’ by Jimmie Maddin,(1927 – 2006) a kick a*se stroller, featuring some serious sax wailing. The Jades ‘Money’. OK I wondered if it was a version by the ‘Blue Black Hair’ Jades, but no. They were from Minnesota whereas this incarnation of the Jades hails from Union City, Tennessee. We’re unable to add to that, other than you’ll recognise this instro version of the much covered track.
Kirby Leigh’s ‘Lonely Walking Blues’ is one of those tracks on a FTM album you have to delve into the very depths of the internet to find anything about. Other than it’s a ‘B’ side on the curiously named B-J Records (presumably two names combined) from 1965, it appears to be Leigh’s only solo recording, and not a bad one at that. The Lords’ ‘On The Road Again’, again from 1965, immediately put me in mind of Bob Dylan, which is not surprising as he wrote it for the album ‘Bringing It All Back Home’, as (possibly) a rather curious response to an old blues number, ‘On The Road’. This version is very much in the style of Bob Dylan, staying close to the original, by a band that were heralded as Germany’s first ‘Beat band’
Jimmy Ricks (1924-74) was one of the founding members of the vocal group, the Ravens in the late 40’s to mid 50’s, characterised by his deep bass voice. Here he is as a solo artist on the Baton label from New York, with ‘Bad Man of Missouri’ from 1957, a call-and-answer stroll beat gem of a tune. Next up, ‘Why Oh Why’ by Guitar Crusher, real name Sidney Shelby, who we only lost in the Autumn of last year. He got the unusual name after smashing a guitar over the head of an unruly reveller at one of his shows. Here he is from 1963 with a mid-tempo blues/soul number.
Let’s face it readers, Lockdown and Covid has been miserable, but the one consistent during the pandemic has been the quality releases from Flat Top Mark’s FTM label. Here we are with the seventh issue of the ‘In The Groove Series’, another journey into the vaults to search out the unusual, the eclectic and the diverse.
Keeping with the theme of other issues, we open with an instrumental track and some dialogue. This time it’s Ray Liotta, in Goodfellas, directed in 1990 by Martin Scorsese, which heralds the start of John Barry’s ‘Beat Girl’, the title track to the 1960 film of the same name starring Gillian Hills and Adam Faith. The John Barry Seven were active from ’57-65 and produced some memorable sounds, of which, this is one!
The Venturas’ ‘Corrido Twist’ is also an instro track, crossing the twist sound of the early sixties, with a surf sound. It was originally an ‘A’ side on the Donna label out of California, and looks like their only single release. Keeping up with the instrumentals ‘Rock-a-Nova’ by Jimmie Maddin,(1927 – 2006) a kick a*se stroller, featuring some serious sax wailing. The Jades ‘Money’. OK I wondered if it was a version by the ‘Blue Black Hair’ Jades, but no. They were from Minnesota whereas this incarnation of the Jades hails from Union City, Tennessee. We’re unable to add to that, other than you’ll recognise this instro version of the much covered track.
Kirby Leigh’s ‘Lonely Walking Blues’ is one of those tracks on a FTM album you have to delve into the very depths of the internet to find anything about. Other than it’s a ‘B’ side on the curiously named B-J Records (presumably two names combined) from 1965, it appears to be Leigh’s only solo recording, and not a bad one at that. The Lords’ ‘On The Road Again’, again from 1965, immediately put me in mind of Bob Dylan, which is not surprising as he wrote it for the album ‘Bringing It All Back Home’, as (possibly) a rather curious response to an old blues number, ‘On The Road’. This version is very much in the style of Bob Dylan, staying close to the original, by a band that were heralded as Germany’s first ‘Beat band’
Jimmy Ricks (1924-74) was one of the founding members of the vocal group, the Ravens in the late 40’s to mid 50’s, characterised by his deep bass voice. Here he is as a solo artist on the Baton label from New York, with ‘Bad Man of Missouri’ from 1957, a call-and-answer stroll beat gem of a tune. Next up, ‘Why Oh Why’ by Guitar Crusher, real name Sidney Shelby, who we only lost in the Autumn of last year. He got the unusual name after smashing a guitar over the head of an unruly reveller at one of his shows. Here he is from 1963 with a mid-tempo blues/soul number.
The Tunetones’ ‘Won’t Somebody Love Me’ has a frantic scratching rhythm and a primitive bop sound that is a delight. Boozoo Chavis’ ‘Deacon Jones’ has appeared on compilations recently. The Cajun classic by one of the genres finest, has undergone an X-rated overhaul to the lyrics. Maybe not one for the family Christmas party…… 😊. If you’ve been around the Rock n Roll circuit anytime in the past 45-50 years, chances are you’d have heard Joey Michaels’ ‘Sixteen Cats’, a thumping slab of raw 50’s Rockabilly, that’s graced many-a collection over the years. His 1958 version of this track stands well in this track listing.
Me & Dem Guys, were six lads from Michigan, recording garage and frat music in the mid 60’s. This track ‘Come on Little Sweetheart’ was a ‘B’ side from 1966, notable for the guitar solo, which you should check out. Also from 1966, a funky soul track, ‘Those Foxes and Pussycats’ by prolific songwriter Eddie Curtis (1927-83). Hailing from Belgium, The Cousins contribution to this CD is a typical mid-sixties sound ‘It’s The Beat’, which was a ‘B’ side to ‘P’tits Oiseaux’ (Small Birds) from 1964.
The classic combination of Capitol Records, producer Ken Nelson and Wanda Jackson are up next with ‘Let My Love Walk In’. Wanda, now in her 80’s, recorded this as a nippy positive ‘B’ side to the rather maudlin, ‘If I Cried Every Time You Hurt Me’ in 1962. James David Walker Jr (1921-2012) better known as Jimmy McCracklin, recorded over seven decades in his career. This tune ‘One Track Love’ was recorded on the legendary Chess label in ’62 and has shades of songs like ‘Georgia Slop’ and ‘Chicken Scratch’.
‘Unchain My Heart’ is a well-known soul sounding song and in this instance is presented by the Rivingtons best known for ‘Papa Oo Mow-Mow’. The Originells 4 and ‘Nights’ I think from 1964, has that Beatle-beat-wannabe sound that typified the era, while Bari and the Breakaways from New Zealand weigh in with a mid-sixties guitar driven stroll sound ‘Tough Enough’. I have some pretty unpleasant memories surrounding the instrumental ‘Green Onions’ whoever is playing it, and in this case it’s the Dave Grundy Combo from 1962. So, I’ll leave it there. I thank you.
John O’Hara and his New Playboys, were a British beat band that like many others found fame in Germany. Their version of ‘Louie Louie’ is a take on the Kingsmen classic from ’63, and was on the flip to the wonderfully titled ‘Stampfkartoffeln’ (Mashed Potatoes). John Fred and the Playboys are one of those bands that seem to have graced so many ‘Rock n Roll Greats’ style LPs over the years, they could fit into almost any genre. Back in the day, it always seemed to be ‘Judy in Disguise’, a psychedelic mix-up from ’67, but soon though ‘Shirley’, the ‘B’ side of their debut single in ’58. It was rerecorded and released in 1968 as an ‘A’ side, with a bit more brass, but no less sass.
For sheer vocal class, check out the next track, the Five Keys ‘That’s What You’re Doing To Me’. Originally recorded by the Dominoes, in 1951, written by Billy Ward, the Five Keys relate it in as much class and vocal reverence as the original. Sublimely unsurpassable, and difficult to follow, however the jazzy, vocal harmony, Savoy jump sound of Steve Gibson and the Red Caps is a pretty good place to go, with ‘Sidewalk Shuffle’. Cracking tune. Which segues nicely into another vocal beauty, the Fascinators ‘Come To Paradise’. Probably best known for their dancefloor classic ‘Oh Rosemarie’, this is a doo wop delight ‘B’ side from ’59 on Capitol Records.
Dale Hawkins’ ‘Back Street’ was an album track from 1969, which has appeared on a couple of FTM releases, made into ‘Back Street Crazy’. Here it’s been worked into a mash up of craziness as a 2020 cut. Finally, another mix, with the Just Brothers v FTM ‘Sliced Tomatoes’. The track was originally recorded in ’72, and many will remember Fat Boy Slim sampling it for ‘Rockerfeller Skank’ in 2009. Here it’s peppered liberally with Joe Pesci in Goodfellas and Harvey Keitel in Pulp Fiction X-Rated quotes.
The ‘In The Groove’ series continues to unearth the eclectic, the unusual and the rare. The mix is varied and cool. Highly recommended for completists and debutants alike
Me & Dem Guys, were six lads from Michigan, recording garage and frat music in the mid 60’s. This track ‘Come on Little Sweetheart’ was a ‘B’ side from 1966, notable for the guitar solo, which you should check out. Also from 1966, a funky soul track, ‘Those Foxes and Pussycats’ by prolific songwriter Eddie Curtis (1927-83). Hailing from Belgium, The Cousins contribution to this CD is a typical mid-sixties sound ‘It’s The Beat’, which was a ‘B’ side to ‘P’tits Oiseaux’ (Small Birds) from 1964.
The classic combination of Capitol Records, producer Ken Nelson and Wanda Jackson are up next with ‘Let My Love Walk In’. Wanda, now in her 80’s, recorded this as a nippy positive ‘B’ side to the rather maudlin, ‘If I Cried Every Time You Hurt Me’ in 1962. James David Walker Jr (1921-2012) better known as Jimmy McCracklin, recorded over seven decades in his career. This tune ‘One Track Love’ was recorded on the legendary Chess label in ’62 and has shades of songs like ‘Georgia Slop’ and ‘Chicken Scratch’.
‘Unchain My Heart’ is a well-known soul sounding song and in this instance is presented by the Rivingtons best known for ‘Papa Oo Mow-Mow’. The Originells 4 and ‘Nights’ I think from 1964, has that Beatle-beat-wannabe sound that typified the era, while Bari and the Breakaways from New Zealand weigh in with a mid-sixties guitar driven stroll sound ‘Tough Enough’. I have some pretty unpleasant memories surrounding the instrumental ‘Green Onions’ whoever is playing it, and in this case it’s the Dave Grundy Combo from 1962. So, I’ll leave it there. I thank you.
John O’Hara and his New Playboys, were a British beat band that like many others found fame in Germany. Their version of ‘Louie Louie’ is a take on the Kingsmen classic from ’63, and was on the flip to the wonderfully titled ‘Stampfkartoffeln’ (Mashed Potatoes). John Fred and the Playboys are one of those bands that seem to have graced so many ‘Rock n Roll Greats’ style LPs over the years, they could fit into almost any genre. Back in the day, it always seemed to be ‘Judy in Disguise’, a psychedelic mix-up from ’67, but soon though ‘Shirley’, the ‘B’ side of their debut single in ’58. It was rerecorded and released in 1968 as an ‘A’ side, with a bit more brass, but no less sass.
For sheer vocal class, check out the next track, the Five Keys ‘That’s What You’re Doing To Me’. Originally recorded by the Dominoes, in 1951, written by Billy Ward, the Five Keys relate it in as much class and vocal reverence as the original. Sublimely unsurpassable, and difficult to follow, however the jazzy, vocal harmony, Savoy jump sound of Steve Gibson and the Red Caps is a pretty good place to go, with ‘Sidewalk Shuffle’. Cracking tune. Which segues nicely into another vocal beauty, the Fascinators ‘Come To Paradise’. Probably best known for their dancefloor classic ‘Oh Rosemarie’, this is a doo wop delight ‘B’ side from ’59 on Capitol Records.
Dale Hawkins’ ‘Back Street’ was an album track from 1969, which has appeared on a couple of FTM releases, made into ‘Back Street Crazy’. Here it’s been worked into a mash up of craziness as a 2020 cut. Finally, another mix, with the Just Brothers v FTM ‘Sliced Tomatoes’. The track was originally recorded in ’72, and many will remember Fat Boy Slim sampling it for ‘Rockerfeller Skank’ in 2009. Here it’s peppered liberally with Joe Pesci in Goodfellas and Harvey Keitel in Pulp Fiction X-Rated quotes.
The ‘In The Groove’ series continues to unearth the eclectic, the unusual and the rare. The mix is varied and cool. Highly recommended for completists and debutants alike
Cooking Jack Fats – promo single
It’s always handy when a band plays live, and you get a copy of their promo single thrust in your hand. Such is the case with this two tracker from Cooking Jack Fats and the Chimney Stacks. The band are John Jackson on lead vocals, the lead guitar supremo JD England, bassist Kate Whittaker, Saxophone Bobby Brooks, piano and sax Guy Turner, and drummer Andy Flude.
Track one is ‘Wiggle (When You Walk)’ a full sounding R&B rocker, with dance floor jiver written all over it. It’s driven along by JD’s exemplary guitar work and super sax. Jacko’s vocals complement it well too. Look out for this one folks
The second offering is a slower tempo ‘Steppin’ In Steppin’ Out’, a tale of infidelity set to a sumptuous blues and jazz beat, which will be a delight for strollers
Two ace tracks, making you want to wish for more
It’s always handy when a band plays live, and you get a copy of their promo single thrust in your hand. Such is the case with this two tracker from Cooking Jack Fats and the Chimney Stacks. The band are John Jackson on lead vocals, the lead guitar supremo JD England, bassist Kate Whittaker, Saxophone Bobby Brooks, piano and sax Guy Turner, and drummer Andy Flude.
Track one is ‘Wiggle (When You Walk)’ a full sounding R&B rocker, with dance floor jiver written all over it. It’s driven along by JD’s exemplary guitar work and super sax. Jacko’s vocals complement it well too. Look out for this one folks
The second offering is a slower tempo ‘Steppin’ In Steppin’ Out’, a tale of infidelity set to a sumptuous blues and jazz beat, which will be a delight for strollers
Two ace tracks, making you want to wish for more
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FTM v/s The Preacher – Round 8
This series is always well received and this pairing is one of the best, on the FTM label.
All The Marbles, a curious name for a band, are Flat Top Mark Phillips’ choice with their single release on Oliver Records, distributed by ABC Paramount. The original release date for ‘I’m Gonna Lock You Up’ which was a ‘B’ side, isn’t available but I suspect it was the mid-sixties. Pretty good stroll track, this one readers
Simon Preacher presents ‘Little Miss Heartbreak’ by Dennis Turner. This was first recorded in 1962 on the Louis label, a subsidiary of Fernwood Records. Dennis Turner recorded a handful of singles in the early-mid sixties, and I’d suggest this was his best. It’s simplistic in it’s structure, but massively effective. This track was also recorded by Tommy Roe in 1964
First class
This series is always well received and this pairing is one of the best, on the FTM label.
All The Marbles, a curious name for a band, are Flat Top Mark Phillips’ choice with their single release on Oliver Records, distributed by ABC Paramount. The original release date for ‘I’m Gonna Lock You Up’ which was a ‘B’ side, isn’t available but I suspect it was the mid-sixties. Pretty good stroll track, this one readers
Simon Preacher presents ‘Little Miss Heartbreak’ by Dennis Turner. This was first recorded in 1962 on the Louis label, a subsidiary of Fernwood Records. Dennis Turner recorded a handful of singles in the early-mid sixties, and I’d suggest this was his best. It’s simplistic in it’s structure, but massively effective. This track was also recorded by Tommy Roe in 1964
First class
Gene McKown – Repro 45
Eugene Edward McKown (1932-2011), recorded and performed music as Gene McKown for most of his life following his discharge from the US Navy. This repro is from 1968 and was recorded on the Totem label, a country and rock label out of Nashville, Tennessee.
On the ‘A’ side, it’s ‘U.F.O’, and light hearted tale of a flying saucer encounter, set to an infectious country bop beat. Turn over, to ‘Happy as a Lark’ and a real foot stomper of a tune it is too.
Eugene Edward McKown (1932-2011), recorded and performed music as Gene McKown for most of his life following his discharge from the US Navy. This repro is from 1968 and was recorded on the Totem label, a country and rock label out of Nashville, Tennessee.
On the ‘A’ side, it’s ‘U.F.O’, and light hearted tale of a flying saucer encounter, set to an infectious country bop beat. Turn over, to ‘Happy as a Lark’ and a real foot stomper of a tune it is too.
Honkabillies 45rpm
It’s been a number of years now since the Honkabillies hit the live music circuit. In that time they have built a considerable following, bringing their varied playlist and enthusiastic shows to the Rock n Roll circuit. Here is their latest 45rpm, and their first on Wild Records of California.
‘Drinkin’ Ridin’ Hidin’, was originally written in 2013, and it fair rattles along with just the right amount of reverb on Frankie’s vocals. It’s a tale of relationship regret, and the attempt to get away. Loving the lead guitar throughout this one.
On the flip, it’s ‘Doin’ Time’. Again, this track has been in the catalogue for some five years and finally it’s committed to wax. It has a sinister sound to it, as the lyric compare this relationship to a prison sentence with no chance of release.
Two ace tracks, a little different to what you might be used to from Frankie, Frankie, Claire and Rich, but super nonetheless.
It’s been a number of years now since the Honkabillies hit the live music circuit. In that time they have built a considerable following, bringing their varied playlist and enthusiastic shows to the Rock n Roll circuit. Here is their latest 45rpm, and their first on Wild Records of California.
‘Drinkin’ Ridin’ Hidin’, was originally written in 2013, and it fair rattles along with just the right amount of reverb on Frankie’s vocals. It’s a tale of relationship regret, and the attempt to get away. Loving the lead guitar throughout this one.
On the flip, it’s ‘Doin’ Time’. Again, this track has been in the catalogue for some five years and finally it’s committed to wax. It has a sinister sound to it, as the lyric compare this relationship to a prison sentence with no chance of release.
Two ace tracks, a little different to what you might be used to from Frankie, Frankie, Claire and Rich, but super nonetheless.
Johnny Carroll and the Bluecaps – 45rpm
John Lewis Carrell (1937-95) known as Rockabilly singer Johnny Carroll (his name was misspelled on the record label), has in his back catalogue, some of the most recognisable songs in the genre. Vee Tone have unearthed a brace of songs with Carroll backed by the Bluecaps, and put them on this limited-edition single, on white vinyl. Johnny Carroll wrote ‘Maybe’ which Gene recorded on his ‘Sounds Like’ album, and the two artists worked together in the 50’s around Texas.
It would be fascinating to know which of Gene’s Bluecaps played on the session, thought to have been from Fort Worth, Texas. It was produced by Major Bill Smith, (1922-’94) who amongst being a songwriter, producer and label owner, also circulated tapes in ’77, claiming Elvis Presley was alive.
The ‘A’ side needs little introduction, ‘Be Bop a Lula’, and it’s not like the version released in the 1970’s. This take has an almost 60’s beat sound to it, and given Carroll’s recording career was somewhat dormant in the mid-60’s, makes you wonder where it fits in musical history.
On the flip, it’s ‘You Can’t Go’, a Hammond organ and bass guitar driven beat tune, with Carroll’s vocal range deftly pitched.
Quite the find!
John Lewis Carrell (1937-95) known as Rockabilly singer Johnny Carroll (his name was misspelled on the record label), has in his back catalogue, some of the most recognisable songs in the genre. Vee Tone have unearthed a brace of songs with Carroll backed by the Bluecaps, and put them on this limited-edition single, on white vinyl. Johnny Carroll wrote ‘Maybe’ which Gene recorded on his ‘Sounds Like’ album, and the two artists worked together in the 50’s around Texas.
It would be fascinating to know which of Gene’s Bluecaps played on the session, thought to have been from Fort Worth, Texas. It was produced by Major Bill Smith, (1922-’94) who amongst being a songwriter, producer and label owner, also circulated tapes in ’77, claiming Elvis Presley was alive.
The ‘A’ side needs little introduction, ‘Be Bop a Lula’, and it’s not like the version released in the 1970’s. This take has an almost 60’s beat sound to it, and given Carroll’s recording career was somewhat dormant in the mid-60’s, makes you wonder where it fits in musical history.
On the flip, it’s ‘You Can’t Go’, a Hammond organ and bass guitar driven beat tune, with Carroll’s vocal range deftly pitched.
Quite the find!
Joyce Green – Repro 45rpm
Joyce Green’s career appears to be limited to one, classic Rockabilly track, from a her only record release, on Vaden Records of Arkansas in 1959. Although she toured with Larry Donn and Carl Perkins to promote it, success avoided her, and as a career in music, that was it.
‘Black Cadillac’ is probably the most embittered Rockabilly song you’re likely to encounter. Not only has she caught a lover cheating, she’s going to bump the lover off, with added venom and rejoice at the fact by celebrating in a black Cadillac.
On the ‘B’ side, it’s a ballad, the opening of which has the familiarity of ‘Unchained Melody’. Another story of lost love, this time tinged with sadness instead of the bile of the ‘A’ side.
Joyce Green, had a great voice, who knows what would have happened had this record hit the charts.
Joyce Green’s career appears to be limited to one, classic Rockabilly track, from a her only record release, on Vaden Records of Arkansas in 1959. Although she toured with Larry Donn and Carl Perkins to promote it, success avoided her, and as a career in music, that was it.
‘Black Cadillac’ is probably the most embittered Rockabilly song you’re likely to encounter. Not only has she caught a lover cheating, she’s going to bump the lover off, with added venom and rejoice at the fact by celebrating in a black Cadillac.
On the ‘B’ side, it’s a ballad, the opening of which has the familiarity of ‘Unchained Melody’. Another story of lost love, this time tinged with sadness instead of the bile of the ‘A’ side.
Joyce Green, had a great voice, who knows what would have happened had this record hit the charts.
The Teen Queens – Vinyl EP
The Teen Queens were sisters Betty and Rosie Collins, whose brother Aaron (The Cadets) wrote their biggest hit ‘Eddie My Love’. They were very young when they entered the music business, at 14 & 16 years old, but the maturity in their voices is exceptional. The Koko Mojo series have released a four track EP titled ‘The Sovereigns of the Jukebox’
‘Just Goofed’ is a sublime jiver, that was on the flip side of ‘Eddie My Love’ on RPM Records from 1956 and ‘Rock Everybody’ on Moonglow Records in ‘57. The ladies’ harmony vocals is spot on, during this story of regret. ‘Let’s Kiss’ has a real ‘Good Times Roll’ feel to it, and a super cool hook rhythm.
‘Zig Zag’ is a smashing mid-tempo jiver, about a cheating lover that got caught, zigging when they should have zagged. Finally it’s ‘Baby Mine’ a declaration of love, again mid-tempo, with the vocal harmony and rhythm a true delight. Again, this was a ‘B’side from 1956 to ‘So All Alone’ on RPM.
Simply excellent
The Teen Queens were sisters Betty and Rosie Collins, whose brother Aaron (The Cadets) wrote their biggest hit ‘Eddie My Love’. They were very young when they entered the music business, at 14 & 16 years old, but the maturity in their voices is exceptional. The Koko Mojo series have released a four track EP titled ‘The Sovereigns of the Jukebox’
‘Just Goofed’ is a sublime jiver, that was on the flip side of ‘Eddie My Love’ on RPM Records from 1956 and ‘Rock Everybody’ on Moonglow Records in ‘57. The ladies’ harmony vocals is spot on, during this story of regret. ‘Let’s Kiss’ has a real ‘Good Times Roll’ feel to it, and a super cool hook rhythm.
‘Zig Zag’ is a smashing mid-tempo jiver, about a cheating lover that got caught, zigging when they should have zagged. Finally it’s ‘Baby Mine’ a declaration of love, again mid-tempo, with the vocal harmony and rhythm a true delight. Again, this was a ‘B’side from 1956 to ‘So All Alone’ on RPM.
Simply excellent
Tom Jones – Repro 45
Sir Thomas John Woodward OBE, has had an immense career. A string of huge hits in the 1960’s, sell out concerts in Las Vegas and a lifetime in the public eye as Tom Jones. Back in 1964, his first single was released on Decca Records, and featured two cover songs.
Jerry Lee Lewis’ ‘Breathless’ was written by Otis Blackwell and released in 1958 on Sun Records. Here Tom gives a frantic and desperate performance vocally, clarifying the song title. On the flip, ‘Chills and Fever’ originally recorded in 1960 by Johnny Love and his Orchestra, credited to Ronnie Love’. This version by Tom Jones is a fine take on a dance floor strolling winner
If you like what you see, how about helping us keep it free by popping a donation over using the button below
Sir Thomas John Woodward OBE, has had an immense career. A string of huge hits in the 1960’s, sell out concerts in Las Vegas and a lifetime in the public eye as Tom Jones. Back in 1964, his first single was released on Decca Records, and featured two cover songs.
Jerry Lee Lewis’ ‘Breathless’ was written by Otis Blackwell and released in 1958 on Sun Records. Here Tom gives a frantic and desperate performance vocally, clarifying the song title. On the flip, ‘Chills and Fever’ originally recorded in 1960 by Johnny Love and his Orchestra, credited to Ronnie Love’. This version by Tom Jones is a fine take on a dance floor strolling winner
If you like what you see, how about helping us keep it free by popping a donation over using the button below
Next Cooking Club gig, click flyer for details
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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email:- [email protected]
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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
