the bettajive review magazine #19
Lew Lewis
|
Darrel Higham
|
Lew Lewis and Darrel Higham rocking out at MFN events are our two main reviews this month, along with our record reviews and all the Bettajive Review silliness in our opening blurb. This issue was written toward the end of July, and in England virtually all Covid-19 restrictions have been eased. That means gigs, club nights, events, festivals and the like are coming back.
Contact us for advertising rates or to arrange for us to cover your event in future issues. We've been here all the way through the Covid crisis, our readership has increased many times, which means your advert will be seen by many thousands of potential attendees. In the meantime, as with previous issues, here is the current UK Government advice on Covid-19
Contact us for advertising rates or to arrange for us to cover your event in future issues. We've been here all the way through the Covid crisis, our readership has increased many times, which means your advert will be seen by many thousands of potential attendees. In the meantime, as with previous issues, here is the current UK Government advice on Covid-19
The Bettajive Review
Rock n Chips Picture this, readers. Two ladies walk on a grass thoroughfare between buildings, heads adorned with tilting berets, subtle Lucite earrings and matching necklace offset their totally vintage 1940’s blouses. Their trousers are impeccably preserved and pressed with a crease that could slice cheese. The bell bottom look just covers one lady’s cut away wedgies and the other’s flat sandals. A plane goes over, could it be a Spitfire, Hurricane, Lancaster, or ‘one of theirs’, it matters not, clearly not worthy of looking up. Why? Because the almost idyllic sepia scene, is shattered by a piercing digitalised noise from one of the lady’s clutch purse….her mobile phone is ringing!!
So often you see occurrences like this don’t you. People at weekenders, festivals and gigs, some so dedicated to parts of the era they are most interested in, vintage minutiae crossed with twenty first century technology, in paradox.
Enter an area and observe the stalls selling records. Over in a far flung, dimly lit corner are the vinyl junkies. Yeah vinyl, the only way to play Rock n Roll, Western Swing, Hillbilly Bop or Rockabilly. These like-minded beings, exchange stories of obscure Hillbilly Bop tunes, by romantically portrayed one-hit wonders on the Toothless Hick & Full Spittoon record label. A crackly moonshine-drenched hiss can be heard as the stylus drops, the record starts, it’s the ultimate dancefloor bopper. The thump-ticking doghouse bass solo mid song gains a smile from the three guys stood around, accompanied by appreciative rhythmic head bobbing.
So worth the forty-pound price tag, for a VG-minus record, even though the B side is some dreary country lament, about a dawg that died. Then, to join in, ill advised, you say it, in all innocence, even though you really shouldn’t ‘Oh I know that song, I’ve got it on the CD Hubbla-Bubbla-Hillbilly Volume one’. Oh dear, the silence is deafening, save for a distant asthmatic cough, a howling coyote (still around from last month’s issue) and the rustling of sage brush as it rolls by the scene. The disdain in the look in the eyes of the three vinyl enthusiasts bores a hole through you into your very soul. Their top lips quiver and curl in utter repugnance. ‘Sssssseeeee deeeee!’ hisses one. ‘Some kind of *characterisation deleted* ain’t he?’ questions another rhetorically.
You shrink away, in an ‘I’ll get my coat’ style, as the three reengage in conversation displaying the ultimate in irony. ‘Yeah, I got a copy last year, original 45, from the States’, trumpets one. ‘Where from?’ asks a second. ‘Found it on the internet, downloaded a couple of sound samples on me I-pod and paid for it online. Here, it’s my ringtone’. Am I the only one who can see the bitter incongruity there?
Rock n Chips Picture this, readers. Two ladies walk on a grass thoroughfare between buildings, heads adorned with tilting berets, subtle Lucite earrings and matching necklace offset their totally vintage 1940’s blouses. Their trousers are impeccably preserved and pressed with a crease that could slice cheese. The bell bottom look just covers one lady’s cut away wedgies and the other’s flat sandals. A plane goes over, could it be a Spitfire, Hurricane, Lancaster, or ‘one of theirs’, it matters not, clearly not worthy of looking up. Why? Because the almost idyllic sepia scene, is shattered by a piercing digitalised noise from one of the lady’s clutch purse….her mobile phone is ringing!!
So often you see occurrences like this don’t you. People at weekenders, festivals and gigs, some so dedicated to parts of the era they are most interested in, vintage minutiae crossed with twenty first century technology, in paradox.
Enter an area and observe the stalls selling records. Over in a far flung, dimly lit corner are the vinyl junkies. Yeah vinyl, the only way to play Rock n Roll, Western Swing, Hillbilly Bop or Rockabilly. These like-minded beings, exchange stories of obscure Hillbilly Bop tunes, by romantically portrayed one-hit wonders on the Toothless Hick & Full Spittoon record label. A crackly moonshine-drenched hiss can be heard as the stylus drops, the record starts, it’s the ultimate dancefloor bopper. The thump-ticking doghouse bass solo mid song gains a smile from the three guys stood around, accompanied by appreciative rhythmic head bobbing.
So worth the forty-pound price tag, for a VG-minus record, even though the B side is some dreary country lament, about a dawg that died. Then, to join in, ill advised, you say it, in all innocence, even though you really shouldn’t ‘Oh I know that song, I’ve got it on the CD Hubbla-Bubbla-Hillbilly Volume one’. Oh dear, the silence is deafening, save for a distant asthmatic cough, a howling coyote (still around from last month’s issue) and the rustling of sage brush as it rolls by the scene. The disdain in the look in the eyes of the three vinyl enthusiasts bores a hole through you into your very soul. Their top lips quiver and curl in utter repugnance. ‘Sssssseeeee deeeee!’ hisses one. ‘Some kind of *characterisation deleted* ain’t he?’ questions another rhetorically.
You shrink away, in an ‘I’ll get my coat’ style, as the three reengage in conversation displaying the ultimate in irony. ‘Yeah, I got a copy last year, original 45, from the States’, trumpets one. ‘Where from?’ asks a second. ‘Found it on the internet, downloaded a couple of sound samples on me I-pod and paid for it online. Here, it’s my ringtone’. Am I the only one who can see the bitter incongruity there?
Same as the auto enthusiasts. Some of the most pristine vehicles on the planet from the 40’s and 50’ appear at our weekenders and festivals. My knowledge of cars extends as far as, a wheel at each corner for balance, and petrol, that’s about it. Therefore, I observe the car cruises with a degree of admiration that goes only as far as my ignorance will take me, ie, that looks in good nick(!). Again, I’d dare to suggest to the petrol-head next to me, that the ’57 Chevvy gurgling by, looks fantastic. ‘Ah’, notes the more informed next to me, ‘If you look, those hub caps are from a ’55, and he’s put ‘em on a ’57. I mean, who does that? It ain’t right, it ain’t proper’’ Incidentally, you have to appreciate this is said with the voice gradually ascending and octave. Rrrrright, so the air freshener hanging off the rear-view mirror being from 2020 isn’t right either? And you can’t even have an old ‘Feu Orange’ hanging off the mirror either, cos that’s sooooo 1980’s Ford Capri with fluffy seat covers isn’t it
On stage there’s a Rockabilly singer and his band. The attention to the authenticity of his look and sound is exceptional, it’s got to be fifties! From his bucks, pink peg slacks, black gabardine shirt, hand painted tie and slub-weave box jacket, to his hair slicked back with Sweet Georgia Brown (other pomades are available, I like Dax in the red tin if you’re looking in Mr Dax, and my gift voucher size is ‘large’ 😊 ), and his 1954 Martin acoustic guitar, plugged into a ’55 Fender Pro Amp (other guitar and amp manufacturers, are available), he da man! Even his amp comes from the fifties, there’s no room for deviation here.
On stage there’s a Rockabilly singer and his band. The attention to the authenticity of his look and sound is exceptional, it’s got to be fifties! From his bucks, pink peg slacks, black gabardine shirt, hand painted tie and slub-weave box jacket, to his hair slicked back with Sweet Georgia Brown (other pomades are available, I like Dax in the red tin if you’re looking in Mr Dax, and my gift voucher size is ‘large’ 😊 ), and his 1954 Martin acoustic guitar, plugged into a ’55 Fender Pro Amp (other guitar and amp manufacturers, are available), he da man! Even his amp comes from the fifties, there’s no room for deviation here.
He breaks in to Tommy Spurlin’s ‘Hang Loose’, recounting ‘I learned to rock, down on the farm’, followed by songs reciting times when he and his family were picking cotton, his papa left mama in his pirogue, they ate corn fed chicken cooked up southern style, and they rocked til the early early light. It turns out his mum works in a solicitors, celebrated her 35th wedding anniversary with his dad who’s a stockbroker from Surrey, and he’s a software developer from Purley. We know that ‘cos he’s sat off stage after the show on his tablet sharing photos on social networks.
Just a few slightly silly examples. It’s been said that folk on the rock ‘n’ roll scene don’t move with the times. Well of course they don’t, that’s kind of why many are in to it. But it’s clear many of us preserve the best bits of the fifties and are equally happy dipping in to today’s convenience-based communication accessories, for example, have you tried playing a 78 in your car driving through Fenland? and……… Oh hang on, me phones ringing.
Just a few slightly silly examples. It’s been said that folk on the rock ‘n’ roll scene don’t move with the times. Well of course they don’t, that’s kind of why many are in to it. But it’s clear many of us preserve the best bits of the fifties and are equally happy dipping in to today’s convenience-based communication accessories, for example, have you tried playing a 78 in your car driving through Fenland? and……… Oh hang on, me phones ringing.
|
|
|
Dot….dot. Best tracks in the world ever ever to ripple your raspberry for this month are ‘Hang On’ by Link Wray, Lee Emerson’s ‘I Cried Like a Baby’ and ‘Heartbreak Train’ by the Barnshakers…..Sad to read the news of the passing of Al Hendrix, just over a year since we interviewed him for our magazine. Check out the archives for the full interview and pictures…….Predictive text on devices eh readers? Such is the effect of the advancing years on our collective memories, I tend to make notes on my phone. Reading it back after one of the MFN gigs, I have to wonder, who’s Darrel Gotham?........A Buddy Holly song used on a Matalan advert, Link Wray’s ‘Rumble’ and ‘The Swag’ on two separate commercials, and the Everly Brothers’ ‘All I Have to do is Dream’ at the end of Professor T. Class…….A number of Radio DJs have been playing early material by Joe Tex (1935 – 82). Now if you’re of a similar vintage to us, your introduction was probably ‘Ain’t Gonna Bump No More Big Fat Woman’ from 1976 on a probably no longer available episode of Top of the Pops. That early material though readers, heavily influenced by Little Richard, is excellent. Check it out…….How many times has this happened readers, you hear a song, you like it, you contact the person who played it, they give you the details, and then you realise you’ve got it twice on 45, a compilation LP and a CD. Such was the case with us and ‘Prince or a Pauper’ played recently by Cat Talk Lee……..Things that even ’56 Elvis couldn’t look cool doing for this month, emptying a hoover bag into a wheelie bin, in a moderate to strong breeze…..
Like what you see so far? Help us keep it free by popping us a donation using the button below. Many thanks
Like what you see so far? Help us keep it free by popping us a donation using the button below. Many thanks
Chesterfield's first post-Covid live gig. Click flyer for details
Radio Boogie. A lot of the DJs who have been playing sets on social media or radio stations, upload sets onto ‘listen again’ platforms. Superb for people with sieve-like memories like us. Here’s a role call of excellence we’ve caught recently. Cat Talk Lee, as well as the show ensconced on Thursday evenings on Facebook, now has an additional weekly show on Mixcloud, playing a barrow-load of classic Rockabilly with some R&B too. Chris ‘Lucky LaRocka’ Whitfield’s ‘Mojo Kools’ show is choc-full of the classic and the eclectic, containing rocking gems from the 50’s, 80’s and today.
For some kickin’ R&B and Blues, check out DJ Vanessa Sondheim as QueenR&B, after all anyone including Elmore James and John Lee Hooker, is fine by us. Flat Top Mark’s show with guest Big Beat Kris was a treat, not only for the tracks, but the anecdotes too, all set against some ‘interesting’ vocal distortions. Over in California, El Nova presents a diverse and enjoyable mix of rockin, west coast stylie, while in Brazil, Christine Carter’s show truly rocks.
From Scotland, two DJs at the top of their game. Tojo, is one of those spinners that during every show, turns up a tune that (we’ve) never heard before, an often it’s by and artist we thought we’d heard everything by. Steve Cunningham, plays some chunky R&B, and Western Swing, and has a featured artist on his shows, which quite rightly are described as ‘cool cool music’. You want classic Rockabilly? Check out BeBop Kaz’s ‘Got Rockin’ on my Mind’ show for some class rockers, and if Hillbilly is your bag, you won’t go wrong with Mac’s Wax, with John Macleod’s box of hot diggedy-ness. And combine the two styles together with some modern music as well, and that’s Marc Valentine, and unsurprisingly, Ruby Ann’s shows. The most recent Ruby Ann show, highlighted a lot of the acts due to appear at VLV this year, which serves as a reminder of just how much talent there is among the musicians on our circuit. Great to hear some kicking Blues with the Texas Hell Kitten, Celia Villagran too.
For unadulterated enthusiasm, check out Rockin’ Roland, tracks from which always put us in mind of the Starfighter club. And Nobster’s Beats blends the sublime with the sublime-r, as does Steve Stack ‘o Wax, and top promoter, and listener chart topper, Bill Guntrip. Not forgetting one of the (I’d suggest) pioneers of specialist Rock ‘n’ Roll radio shows, Tom Ingram.
Of course, we are not going to forget our friends over at Racketeer Radio (click on their logo in the advert). A massively diverse station that opens with a super smooth daily program ‘The Morning Java’, covering music from the 1920’s to the 1950’s. Boppin’ with Beth, recently had a couple of massively informative shows with Peter Frampton and Keb Mo’s musical influences, and there were a couple of surprises in there. Top entertainment.
Who have we missed out? Well if it’s your show, we are onto it 😉
For some kickin’ R&B and Blues, check out DJ Vanessa Sondheim as QueenR&B, after all anyone including Elmore James and John Lee Hooker, is fine by us. Flat Top Mark’s show with guest Big Beat Kris was a treat, not only for the tracks, but the anecdotes too, all set against some ‘interesting’ vocal distortions. Over in California, El Nova presents a diverse and enjoyable mix of rockin, west coast stylie, while in Brazil, Christine Carter’s show truly rocks.
From Scotland, two DJs at the top of their game. Tojo, is one of those spinners that during every show, turns up a tune that (we’ve) never heard before, an often it’s by and artist we thought we’d heard everything by. Steve Cunningham, plays some chunky R&B, and Western Swing, and has a featured artist on his shows, which quite rightly are described as ‘cool cool music’. You want classic Rockabilly? Check out BeBop Kaz’s ‘Got Rockin’ on my Mind’ show for some class rockers, and if Hillbilly is your bag, you won’t go wrong with Mac’s Wax, with John Macleod’s box of hot diggedy-ness. And combine the two styles together with some modern music as well, and that’s Marc Valentine, and unsurprisingly, Ruby Ann’s shows. The most recent Ruby Ann show, highlighted a lot of the acts due to appear at VLV this year, which serves as a reminder of just how much talent there is among the musicians on our circuit. Great to hear some kicking Blues with the Texas Hell Kitten, Celia Villagran too.
For unadulterated enthusiasm, check out Rockin’ Roland, tracks from which always put us in mind of the Starfighter club. And Nobster’s Beats blends the sublime with the sublime-r, as does Steve Stack ‘o Wax, and top promoter, and listener chart topper, Bill Guntrip. Not forgetting one of the (I’d suggest) pioneers of specialist Rock ‘n’ Roll radio shows, Tom Ingram.
Of course, we are not going to forget our friends over at Racketeer Radio (click on their logo in the advert). A massively diverse station that opens with a super smooth daily program ‘The Morning Java’, covering music from the 1920’s to the 1950’s. Boppin’ with Beth, recently had a couple of massively informative shows with Peter Frampton and Keb Mo’s musical influences, and there were a couple of surprises in there. Top entertainment.
Who have we missed out? Well if it’s your show, we are onto it 😉
Double Bubble. It might seem a little strange to still be talking about restrictions due to Covid-19 as England has just (at the time of writing) reopened. Two gigs since last month were still under the rules, but went ahead to considerable acclaim, the glorious weather at both notwithstanding. Both events were at the Miles From Nowhere location, Eastwood, Nottinghamshire, or rather the field adjoining it. The first featured Lew Lewis and his All Star Trio, with the venerable Clive Hodgson’s Red Planet Rock spinning the wax.
The MFN venue was showcasing a brand-new sound system, which took a while to sync, but it was worth it for sure. Due to the continuing Covid restrictions, attendees had pre booked and the viewing area set out in such a fashion so cars allowed for their occupants to set up their own bases. There were two dancefloors, portable affairs, shall we say, which limited the number who could get on them. Undaunted, people utilised the greenery in between. Just as well as Clive played some cracking stuff throughout.
Being an afternoon and early evening gig, it was daylight pretty much throughout, and in glorious sunshine, the band took to the stage for their first set. They opened with a couple of Sun Records tunes, Kenny Parchman’s ‘Treat Me Right’ and Roy Orbison’s ‘I Like Love’ which was the flip to the 1957 single ‘Chicken Hearted’. As many will know, Lew is an accomplished songwriter and we got a taste of his ‘early’ (seems strange as he’s half our age) material in the shape of the super cool ‘Be There When I Call’. That was followed by a song from the UK’s second lockdown, ‘Can’t Be Late’, and ‘You’re Enough’ from the latest EP.
Seamlessly back onto the covers for the majority of the first set, with a couple of Edwin Bruce numbers ‘Rock Boppin’ Baby’ and ‘Sweet Woman’ both of which fit the Lew Lewis vocal style. Another classic pairing from Charlie Rich got the dancers out, the evergreen ‘Midnight Blues’ and class jiver, ‘Rebound’, with Mickey Gilley’s Dot rocker, ‘Call Me Shorty’.
The second set picked up where the first left off, with Bob Luman/Buddy Thompson’s ‘This is the Night’. If I were to pick a favourite Lew Lewis track, it would be ‘Ooh Now’ from the 2016 album ‘Who I Am’. This has everything, cool lyrics and harmonies, and cracking rhythm. A change of pace next with Gene’s ‘Wildcat’ and Lloyd Price’s ‘Lawdy Miss Clawdy’, which not only filled the dancefloors, but all the grassy area in front of the stage.
‘Woman in Black’ starts slow and sultry before bursting into speedy rocker, while ‘Trouble Bound’ is the title track to the band’s latest CD. The show was rowdily cheered, as was the encore of Johnny Burnette’s ‘Train Kept a Rollin’.
A top show, with Hodgo playing some top drawer tracks on the decks as the sun went down.
The MFN venue was showcasing a brand-new sound system, which took a while to sync, but it was worth it for sure. Due to the continuing Covid restrictions, attendees had pre booked and the viewing area set out in such a fashion so cars allowed for their occupants to set up their own bases. There were two dancefloors, portable affairs, shall we say, which limited the number who could get on them. Undaunted, people utilised the greenery in between. Just as well as Clive played some cracking stuff throughout.
Being an afternoon and early evening gig, it was daylight pretty much throughout, and in glorious sunshine, the band took to the stage for their first set. They opened with a couple of Sun Records tunes, Kenny Parchman’s ‘Treat Me Right’ and Roy Orbison’s ‘I Like Love’ which was the flip to the 1957 single ‘Chicken Hearted’. As many will know, Lew is an accomplished songwriter and we got a taste of his ‘early’ (seems strange as he’s half our age) material in the shape of the super cool ‘Be There When I Call’. That was followed by a song from the UK’s second lockdown, ‘Can’t Be Late’, and ‘You’re Enough’ from the latest EP.
Seamlessly back onto the covers for the majority of the first set, with a couple of Edwin Bruce numbers ‘Rock Boppin’ Baby’ and ‘Sweet Woman’ both of which fit the Lew Lewis vocal style. Another classic pairing from Charlie Rich got the dancers out, the evergreen ‘Midnight Blues’ and class jiver, ‘Rebound’, with Mickey Gilley’s Dot rocker, ‘Call Me Shorty’.
The second set picked up where the first left off, with Bob Luman/Buddy Thompson’s ‘This is the Night’. If I were to pick a favourite Lew Lewis track, it would be ‘Ooh Now’ from the 2016 album ‘Who I Am’. This has everything, cool lyrics and harmonies, and cracking rhythm. A change of pace next with Gene’s ‘Wildcat’ and Lloyd Price’s ‘Lawdy Miss Clawdy’, which not only filled the dancefloors, but all the grassy area in front of the stage.
‘Woman in Black’ starts slow and sultry before bursting into speedy rocker, while ‘Trouble Bound’ is the title track to the band’s latest CD. The show was rowdily cheered, as was the encore of Johnny Burnette’s ‘Train Kept a Rollin’.
A top show, with Hodgo playing some top drawer tracks on the decks as the sun went down.
A couple of weeks later we were back at the same venue, fortunately experiencing similarly clement weather. On stage this week was Darrel Higham and the Enforcers, clearly a draw given the population already in place when we arrived. DJ for the day mixing up the flavours with considerable panache, was Rockin’ Daniel. Given we were still under Covid measures, the two dancefloors were still in place although couples utilised whatever flat area, they could to get some moves in.
Darrel, with his two Enforcers, Adam Miles on bass and drummer Rob Tyler rattled off two sets of class rockin, opening up with Herbie Smith’s 1959 corker, ‘Baby Moon’, followed by Cliff’s kicking rocker, ‘High Class Baby’. Johnny and Jonie’s ‘Kee Ro Ryin’ got the Enforcers treatment as did the Cochran Brothers gem from ’55, ‘Rockin’ and Flyin’ . The strollers were out in force for Joe South’s ‘I’m Snowed’ and the Eddie Cochran classic ‘Hallelujah I Love Her So’. Another Eddie track followed, ‘Completely Sweet’ this time, with a brace of Ricky Nelson tunes, hitting the high spots.
‘Do You Know What I Mean’ is an outstanding up-tempo diamond of a tune as is ‘Shirley Lee’. It’s not a Darrel Higham set without ‘Scratchin’, the classic Cochran instrumental originally featuring Eddie, Guybo and Earl Palmer from ’58. Gretsch-tastic version near the end of the set here. Cliff’s ‘Move It’, the rarely recounted ‘I’m Ready’ originally by Hank Mizell, and Eddie’s ‘Nervous Breakdown’ topped off a well-received first set
Part deux picked up where the first set left off in familiar fashion with ‘Hey Ruby’, Darrel’s own ‘Dark Haired Woman’ and ‘Jumping With Gene’ which samples loads of Cliff Gallup riffs and nods to Gene’s song titles. There was more Gene later with a rendition of ‘She She Shelia’. ‘Brain Freeze’ is a song influenced by Darrel’s daughter eating ice cream. The band then really let rip into Eddie’s ‘Somethin’ Else’, a favourite of theirs, and Billy Burnette’s ‘Didn’t Start Livin’.
As the light started to fade, the set was coming to an end, with kicking versions of ‘Ice Cold’ and ‘I’m On Fire’ with the anthemic ‘Rockabilly Boogie’ closing out an ace show.
Kudos to the Cooking Club and MFN for being the oasis of rockin’ gigs in an otherwise barren Covid wilderness.
Like what you see, help us keep it free by popping a donation over by using the button below. Many thanks
Darrel, with his two Enforcers, Adam Miles on bass and drummer Rob Tyler rattled off two sets of class rockin, opening up with Herbie Smith’s 1959 corker, ‘Baby Moon’, followed by Cliff’s kicking rocker, ‘High Class Baby’. Johnny and Jonie’s ‘Kee Ro Ryin’ got the Enforcers treatment as did the Cochran Brothers gem from ’55, ‘Rockin’ and Flyin’ . The strollers were out in force for Joe South’s ‘I’m Snowed’ and the Eddie Cochran classic ‘Hallelujah I Love Her So’. Another Eddie track followed, ‘Completely Sweet’ this time, with a brace of Ricky Nelson tunes, hitting the high spots.
‘Do You Know What I Mean’ is an outstanding up-tempo diamond of a tune as is ‘Shirley Lee’. It’s not a Darrel Higham set without ‘Scratchin’, the classic Cochran instrumental originally featuring Eddie, Guybo and Earl Palmer from ’58. Gretsch-tastic version near the end of the set here. Cliff’s ‘Move It’, the rarely recounted ‘I’m Ready’ originally by Hank Mizell, and Eddie’s ‘Nervous Breakdown’ topped off a well-received first set
Part deux picked up where the first set left off in familiar fashion with ‘Hey Ruby’, Darrel’s own ‘Dark Haired Woman’ and ‘Jumping With Gene’ which samples loads of Cliff Gallup riffs and nods to Gene’s song titles. There was more Gene later with a rendition of ‘She She Shelia’. ‘Brain Freeze’ is a song influenced by Darrel’s daughter eating ice cream. The band then really let rip into Eddie’s ‘Somethin’ Else’, a favourite of theirs, and Billy Burnette’s ‘Didn’t Start Livin’.
As the light started to fade, the set was coming to an end, with kicking versions of ‘Ice Cold’ and ‘I’m On Fire’ with the anthemic ‘Rockabilly Boogie’ closing out an ace show.
Kudos to the Cooking Club and MFN for being the oasis of rockin’ gigs in an otherwise barren Covid wilderness.
Like what you see, help us keep it free by popping a donation over by using the button below. Many thanks
gallery images, click on them for full sized pics
interview with the Kopy Katz
Interview with David Lyall, guitar and lead vocals of The Kopy Katz.
Just before Covid-19 hit, (and our house move), we’d had a band on our radar to check out, The Kopy Katz. Videos online, showed them tearing up the pub scene, with their brand of no nonsense, take-no-prisoners, high octane Rockabilly. We wanted to find out more!
BJR. Formalities first, who are the Kopy Katz?
KK – Well there’s me, David Lyall on guitar and lead vocals. Lee Symonds is the drummer and Carl James-Cordean plays the doublebass.
BJR. And how and where did you get together to form the band?
KK – Myself and Lee hooked up through a music ad in 2013. Just the two of us would get together in a rehearsal room and play loads of Stray Cats. He’s out on the Essex coast but he would drive over to me in Welwyn Garden City. A few months later we picked up a doublebass player and by the end of the year we played our first gig. Carl is new and joined us earlier this year so we are about to start our first gigs with this line up in just a couple of weeks (26 June in Chelmsford).
BJR. Had you all been in other bands or was this your respective ‘first times’?
KK – This is the first rockabilly band I’ve been part of. Previously I was in a Prince/p-funk type originals band called Liberty. Did quite a lot of stuff. We won Capital Radio Band of the Year, played Wembley Arena a couple of times and then in 2000 we had a big legal case at the High Court when another band took our name. We eventually won the case against Richard Branson’s record label V2 and the band and they went on to change their name to Liberty X. We had a massive party that night. Then I remembered a car from Channel 4 was picking me up at 5am for a guest interview on The Big Breakfast so there is footage of me on the show looking like a zombie with no sleep chatting to fellow guest Uri Geller (he’s a massive Elvis fan too).
BJR. Anyone who has watched your videos online or seen you live will pretty much guess who your influences are, but for those who have yet to undergo the Kopy Katz experience, who are your influences?
KK – Well The Stray Cats are the biggest influence on the band without doubt. Their sound and energy feed into what we try to replicate. Personally, I am a massive Elvis fan and have been since I was a kid so his showmanship is a big reminder to me that people enjoy watching a ‘performance’ so I try to never be caught standing still. Plus, a moving target is harder to hit lol. Apart from the usual 50s classic rockers like Eddie Cochran I also love T.Rex and that feeds into my sound quite a bit. I also love The Rolling Stones and again, what a front man to watch.
Just before Covid-19 hit, (and our house move), we’d had a band on our radar to check out, The Kopy Katz. Videos online, showed them tearing up the pub scene, with their brand of no nonsense, take-no-prisoners, high octane Rockabilly. We wanted to find out more!
BJR. Formalities first, who are the Kopy Katz?
KK – Well there’s me, David Lyall on guitar and lead vocals. Lee Symonds is the drummer and Carl James-Cordean plays the doublebass.
BJR. And how and where did you get together to form the band?
KK – Myself and Lee hooked up through a music ad in 2013. Just the two of us would get together in a rehearsal room and play loads of Stray Cats. He’s out on the Essex coast but he would drive over to me in Welwyn Garden City. A few months later we picked up a doublebass player and by the end of the year we played our first gig. Carl is new and joined us earlier this year so we are about to start our first gigs with this line up in just a couple of weeks (26 June in Chelmsford).
BJR. Had you all been in other bands or was this your respective ‘first times’?
KK – This is the first rockabilly band I’ve been part of. Previously I was in a Prince/p-funk type originals band called Liberty. Did quite a lot of stuff. We won Capital Radio Band of the Year, played Wembley Arena a couple of times and then in 2000 we had a big legal case at the High Court when another band took our name. We eventually won the case against Richard Branson’s record label V2 and the band and they went on to change their name to Liberty X. We had a massive party that night. Then I remembered a car from Channel 4 was picking me up at 5am for a guest interview on The Big Breakfast so there is footage of me on the show looking like a zombie with no sleep chatting to fellow guest Uri Geller (he’s a massive Elvis fan too).
BJR. Anyone who has watched your videos online or seen you live will pretty much guess who your influences are, but for those who have yet to undergo the Kopy Katz experience, who are your influences?
KK – Well The Stray Cats are the biggest influence on the band without doubt. Their sound and energy feed into what we try to replicate. Personally, I am a massive Elvis fan and have been since I was a kid so his showmanship is a big reminder to me that people enjoy watching a ‘performance’ so I try to never be caught standing still. Plus, a moving target is harder to hit lol. Apart from the usual 50s classic rockers like Eddie Cochran I also love T.Rex and that feeds into my sound quite a bit. I also love The Rolling Stones and again, what a front man to watch.
BJR. What music can punters expect when they come to a Kopy Katz show?
KK – We have always been a covers band. That was our raison d'être, to play our favourite songs live on a Saturday night with a few friends and a few more beers. Our set list is quite unique from other bands on the scene as is they way we play ‘em. We are a bit self-indulgent that way. I would say we are out on the fringes of the rockabilly/rock n roll scene occupying a space where we soup up the songs, the way The Stray Cats were slightly punkish. A little more energy, a little more overdrive on the guitar, a little harder on the drums. So, for hardcore traditionalists on the scene, we are not everyone’s cup of tea.
BJR. We’ve had a few listens to your new single ‘Kopy Katz Suck’, and the lyrics are kind of tongue-in-cheek. How did the title and the subject of the lyrics come about?
KK – Well as I mentioned, our sound is a little different to other bands on the scene and we include many ‘non-traditional songs’ like Paint It Black and White Wedding within the set, in our own rockin’ style. So, over the years I have heard that some people on the scene that like more traditional rockabilly and 50s rock & roll don’t like our band because we don’t sound like that. And you know what? That’s fine! So, The Kopy Katz Suck is just a tongue in cheek reply to them. We have a small but passionate group of friends and followers who we love, but we don’t really mind if someone doesn’t like us. Hence the chorus lyrics:
“They say The Kopy Katz suck (ain’t rockabilly)
Well come a little closer…
We don’t give a f***!”
BJR. Have you been able to keep busy (musically) during the pandemic or have you had to ice all your projects?
KK – Well obviously we stopped playing live in 2020. We had just supported The Polecats in London, played with Restless and Darrel Higham at The 100 Club and then in March it all stopped. So we channelled our creative juices writing and recording original material. We released our debut track The Kopy Katz Suck back in April this year and we have a second track ready for a release this summer.
BJR. We mentioned your playing in pubs and smaller venues, is that where you’re most comfortable playing, or have you played larger festivals and venues?
KK I’ll play anywhere, anytime, anyplace. It’s all about the life in the audience rather than the size of the venue. A few wild people dancing all night in front of us at a small venue is much more fun than a large venue with a crowd sitting on their hands. We’ve played festivals and small pubs. We have a party on stage no matter what but if we have a crowd who party with us, they make the best nights.
BJR. Interesting to read on your website, that Nadine Coyle of Girls Aloud is one of your fans. Did she come to one of your shows, or check out your music online?
KK – My brothers are tour managers, they worked with Girls Aloud for years and one of them actually lived with Nadine as a lodger, so I used to go over there a bit and she’s come over to mine for a BBQ too. That’s how that came about. They were also tour managers on the last Spice Girls tour a few years ago. My family all went to see their last full dress rehearsal. Only 50 friends/family were invited to a massive hanger. That was strange, I sat there watching the whole stadium show a few feet in front of them with their parents and kids. Not really a fan but what a production. Aleshia Dixon is another they worked with for years and were very close as well. My brothers are pretty hooked up on the pop music scene and they toured all over the world and partied with the best of ‘em. Nice work if you can get it.
BJR. What’s next for the Kopy Katz?
KK – I brought in a new line up for 2021. I founded the band with Lee, but he left in 2018. He’s back now on drums. Our new doublebass player Carl is an old friend of Lee’s and used to be our soundman up to 2018. So currently we are rehearsing the new line up for our launch back into gigs from June 2021 (or as soon as the Govt allows). Check out our website for gig dates (see below). Plus, we are going to release a follow up original track this summer too which is already finished.
BJR. How can people, promoters and fans get in touch with you?
KK We’d love to hear from anyone interested in the band. All news and gigs are published on our website plus you can follow our social channels and chat to us (see below) or email us at [email protected]:
https://www.thekopykatz.co.uk
https://www.facebook.com/TheKopyKatz/
https://www.instagram.com/thekopykatz
https://twitter.com/TheKopyKatz
https://www.youtube.com/c/TheKopyKatz
Watch The Kopy Katz Suck official music video: https://youtu.be/BI8ovghR7ag
Thanks for the interview guys. Keep up the great work 😊
KK – We have always been a covers band. That was our raison d'être, to play our favourite songs live on a Saturday night with a few friends and a few more beers. Our set list is quite unique from other bands on the scene as is they way we play ‘em. We are a bit self-indulgent that way. I would say we are out on the fringes of the rockabilly/rock n roll scene occupying a space where we soup up the songs, the way The Stray Cats were slightly punkish. A little more energy, a little more overdrive on the guitar, a little harder on the drums. So, for hardcore traditionalists on the scene, we are not everyone’s cup of tea.
BJR. We’ve had a few listens to your new single ‘Kopy Katz Suck’, and the lyrics are kind of tongue-in-cheek. How did the title and the subject of the lyrics come about?
KK – Well as I mentioned, our sound is a little different to other bands on the scene and we include many ‘non-traditional songs’ like Paint It Black and White Wedding within the set, in our own rockin’ style. So, over the years I have heard that some people on the scene that like more traditional rockabilly and 50s rock & roll don’t like our band because we don’t sound like that. And you know what? That’s fine! So, The Kopy Katz Suck is just a tongue in cheek reply to them. We have a small but passionate group of friends and followers who we love, but we don’t really mind if someone doesn’t like us. Hence the chorus lyrics:
“They say The Kopy Katz suck (ain’t rockabilly)
Well come a little closer…
We don’t give a f***!”
BJR. Have you been able to keep busy (musically) during the pandemic or have you had to ice all your projects?
KK – Well obviously we stopped playing live in 2020. We had just supported The Polecats in London, played with Restless and Darrel Higham at The 100 Club and then in March it all stopped. So we channelled our creative juices writing and recording original material. We released our debut track The Kopy Katz Suck back in April this year and we have a second track ready for a release this summer.
BJR. We mentioned your playing in pubs and smaller venues, is that where you’re most comfortable playing, or have you played larger festivals and venues?
KK I’ll play anywhere, anytime, anyplace. It’s all about the life in the audience rather than the size of the venue. A few wild people dancing all night in front of us at a small venue is much more fun than a large venue with a crowd sitting on their hands. We’ve played festivals and small pubs. We have a party on stage no matter what but if we have a crowd who party with us, they make the best nights.
BJR. Interesting to read on your website, that Nadine Coyle of Girls Aloud is one of your fans. Did she come to one of your shows, or check out your music online?
KK – My brothers are tour managers, they worked with Girls Aloud for years and one of them actually lived with Nadine as a lodger, so I used to go over there a bit and she’s come over to mine for a BBQ too. That’s how that came about. They were also tour managers on the last Spice Girls tour a few years ago. My family all went to see their last full dress rehearsal. Only 50 friends/family were invited to a massive hanger. That was strange, I sat there watching the whole stadium show a few feet in front of them with their parents and kids. Not really a fan but what a production. Aleshia Dixon is another they worked with for years and were very close as well. My brothers are pretty hooked up on the pop music scene and they toured all over the world and partied with the best of ‘em. Nice work if you can get it.
BJR. What’s next for the Kopy Katz?
KK – I brought in a new line up for 2021. I founded the band with Lee, but he left in 2018. He’s back now on drums. Our new doublebass player Carl is an old friend of Lee’s and used to be our soundman up to 2018. So currently we are rehearsing the new line up for our launch back into gigs from June 2021 (or as soon as the Govt allows). Check out our website for gig dates (see below). Plus, we are going to release a follow up original track this summer too which is already finished.
BJR. How can people, promoters and fans get in touch with you?
KK We’d love to hear from anyone interested in the band. All news and gigs are published on our website plus you can follow our social channels and chat to us (see below) or email us at [email protected]:
https://www.thekopykatz.co.uk
https://www.facebook.com/TheKopyKatz/
https://www.instagram.com/thekopykatz
https://twitter.com/TheKopyKatz
https://www.youtube.com/c/TheKopyKatz
Watch The Kopy Katz Suck official music video: https://youtu.be/BI8ovghR7ag
Thanks for the interview guys. Keep up the great work 😊
New event in Tenerife for 2021
|
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. |
|
|
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
Record reviews
Some reviews of CD and vinyl releases, available at Bim Bam Records. Click the banner for details
Lara Hope and the Ark Tones - Here To Tell The Tale
CD review
Lara Hope and the Ark-Tones are a multi-award-winning band including an Ameripolitan Award for Lara in 2017 for Best Rockabilly Female. The personnel that makes up the band are Lara Hope on vocals, Matt Goldpaugh, slapping the bass, Eddie Rion on lead guitar, and drummer Jeremy Boniello. Lara’s vocal style and sound has an early Imelda May feel to it, or it does to us, you can make your own comparisons of course.
As soon as the first few guitar notes sound, and the bass and drums burst into life, on ‘Let’s Go’, you know as the listener, this is going to be one heck of an aural ride. The addition of horn sounds and shout-back vocals work supremely. Let’s go indeed. ‘Stop, Drop and Roll’ follows, slightly slower and the initial guitar riffs put me in mind of ‘Jeepster’. The actual title resembles a public information film, and lyrically is cleverly woven into the male subject of the song, metaphorically being on fire.
The title track, ‘Here To Tell The Tale’ is a cracking country romp, featuring some super pickin’ and a style akin to Billie Jo Spears or Tammy Wynette for example. A true foot-stomper and well worthy of the album title track accolade. ‘Some Advice’ has everything a Rock n Roll song should, catchy rhythm, shout-back vocals, hand clapping accompaniment and showcased sax and guitar breaks. Not sure if the lyrics are anecdotally inspired, but I’m sure there’s a lot in there, many of would have heard, and as we advance in years, dole out ourselves.
A play on words next, ‘Whoa is Me’, in which the band utilise a fiddle to give this speedy kicker a country feel. The lead guitar solo adds to the breathless speed of the song, which ends almost apologetically. A real gem this one, readers. By contrast, ‘It’s a Crime’ slows it right down in a modern Country style. At nearly five minutes long, again I wonder if the lyrics are anecdotal, as they are thought provoking and delivered in a really heartfelt way.
OK, if you listen to the opening bars of ‘Running In Circles’, it immediately conjures up images of Clint Eastwood and Lee Van Cleef in a ghost town showdown. That’s where any similarity ends, as it’s a nippy paced tune about procrastination. Not the most immediate subject to write about, but these guys do it well. A jazzy sound next with ‘Knocked Out’ in which they bring a piano in to good effect, and you’ll love the slow-down end to it. ‘The Art of Asking’ follows, a slow and moody song to start with, before the band switch between Rock n Roll, Rockabilly, Roots and Americana styles like they’re in a musical pinball machine.
An out and out country vibe next, with ’12 Minutes of Hot Water’, a rousing feel-good rat-a-tat, hoedown beat about the tribulations of getting a shower with limited hot water. Slap those thighs, get involved with this razor-sharp tune, and channel your inner Dolly Parton. Excellent. Topping off the release, ‘Drink To Your Health’, almost encompasses the whole album’s styles in one song and the brilliant line ‘I drink to your health so damn many times, that I’ve already ruined my own’.
This release has everything, pace, punch, rocking rhythms and a tight musical sound. The lyrics are amusing, sad uplifting, melancholy, introspective, reflective, joyous and witty in equal parts, The songs are well conceived and expertly delivered both vocally and musically. If this is your introduction to Lara Hope and the Ark-Tones’ music, you picked a fine time to do so.
CD review
Lara Hope and the Ark-Tones are a multi-award-winning band including an Ameripolitan Award for Lara in 2017 for Best Rockabilly Female. The personnel that makes up the band are Lara Hope on vocals, Matt Goldpaugh, slapping the bass, Eddie Rion on lead guitar, and drummer Jeremy Boniello. Lara’s vocal style and sound has an early Imelda May feel to it, or it does to us, you can make your own comparisons of course.
As soon as the first few guitar notes sound, and the bass and drums burst into life, on ‘Let’s Go’, you know as the listener, this is going to be one heck of an aural ride. The addition of horn sounds and shout-back vocals work supremely. Let’s go indeed. ‘Stop, Drop and Roll’ follows, slightly slower and the initial guitar riffs put me in mind of ‘Jeepster’. The actual title resembles a public information film, and lyrically is cleverly woven into the male subject of the song, metaphorically being on fire.
The title track, ‘Here To Tell The Tale’ is a cracking country romp, featuring some super pickin’ and a style akin to Billie Jo Spears or Tammy Wynette for example. A true foot-stomper and well worthy of the album title track accolade. ‘Some Advice’ has everything a Rock n Roll song should, catchy rhythm, shout-back vocals, hand clapping accompaniment and showcased sax and guitar breaks. Not sure if the lyrics are anecdotally inspired, but I’m sure there’s a lot in there, many of would have heard, and as we advance in years, dole out ourselves.
A play on words next, ‘Whoa is Me’, in which the band utilise a fiddle to give this speedy kicker a country feel. The lead guitar solo adds to the breathless speed of the song, which ends almost apologetically. A real gem this one, readers. By contrast, ‘It’s a Crime’ slows it right down in a modern Country style. At nearly five minutes long, again I wonder if the lyrics are anecdotal, as they are thought provoking and delivered in a really heartfelt way.
OK, if you listen to the opening bars of ‘Running In Circles’, it immediately conjures up images of Clint Eastwood and Lee Van Cleef in a ghost town showdown. That’s where any similarity ends, as it’s a nippy paced tune about procrastination. Not the most immediate subject to write about, but these guys do it well. A jazzy sound next with ‘Knocked Out’ in which they bring a piano in to good effect, and you’ll love the slow-down end to it. ‘The Art of Asking’ follows, a slow and moody song to start with, before the band switch between Rock n Roll, Rockabilly, Roots and Americana styles like they’re in a musical pinball machine.
An out and out country vibe next, with ’12 Minutes of Hot Water’, a rousing feel-good rat-a-tat, hoedown beat about the tribulations of getting a shower with limited hot water. Slap those thighs, get involved with this razor-sharp tune, and channel your inner Dolly Parton. Excellent. Topping off the release, ‘Drink To Your Health’, almost encompasses the whole album’s styles in one song and the brilliant line ‘I drink to your health so damn many times, that I’ve already ruined my own’.
This release has everything, pace, punch, rocking rhythms and a tight musical sound. The lyrics are amusing, sad uplifting, melancholy, introspective, reflective, joyous and witty in equal parts, The songs are well conceived and expertly delivered both vocally and musically. If this is your introduction to Lara Hope and the Ark-Tones’ music, you picked a fine time to do so.
The Dazzlers – repro 45
The Dazzlers are one of those bands who have almost legendary status on the Rockabilly dancefloor, although their recorded output extended to just two 45’s in 1958. They were from Brookneal and Lynchburg, two towns around thirty five miles apart in Virginia, with lead singer Kenny Coates, responsible for composing both these tracks.
Both ‘Somethin’ Baby’ and ‘Gee Whizz’ combined, come to under four minutes, and are classic Rockabilly rock-out, guitar and bass driven tunes.
The Dazzlers are one of those bands who have almost legendary status on the Rockabilly dancefloor, although their recorded output extended to just two 45’s in 1958. They were from Brookneal and Lynchburg, two towns around thirty five miles apart in Virginia, with lead singer Kenny Coates, responsible for composing both these tracks.
Both ‘Somethin’ Baby’ and ‘Gee Whizz’ combined, come to under four minutes, and are classic Rockabilly rock-out, guitar and bass driven tunes.
Benny Joy – repro 45
Big John Taylor (John Wilkie Taylor) was a Rockabilly guitarist who played alongside Benny Joy (Benjamin Eidson). Here they are on a repro of the 1959 Buck Ram, Antler Records (New York) single featuring two sublime tracks.
‘Ittie Bittie Everything’ was written by Taylor and truly rattles along, with it’s infectious beat and declaration of love in the lyrics. The ‘B’ side essentially is a mid tempo instrumental, the only words being the title, ‘Money Money’. One for the strollers and DJ box.
Big John Taylor (John Wilkie Taylor) was a Rockabilly guitarist who played alongside Benny Joy (Benjamin Eidson). Here they are on a repro of the 1959 Buck Ram, Antler Records (New York) single featuring two sublime tracks.
‘Ittie Bittie Everything’ was written by Taylor and truly rattles along, with it’s infectious beat and declaration of love in the lyrics. The ‘B’ side essentially is a mid tempo instrumental, the only words being the title, ‘Money Money’. One for the strollers and DJ box.
Bill Haley – repro 45rpm
Even if you’re reading our magazine for the first time and a lot of the music might be alien to you, I’m pretty sure you know of Billy Haley and the Comets. Rock n Roll in a pure form with a joyous lilt and catchy titles and rhythms, that’s pretty much their recordings. Here is a two sider that couples together a pair of dancefloor corkers, on Festival Records.
‘Vive La Rock n Roll’ was recorded in 1958 and the cover artwork of this release, features the Comets and actress, singer, multi-linguist, dance and guitarist Carmen Valente. Carmen had also appeared with Perry Como, Bing Crosby, Dean Martin and Ella Fitzgerald, over a long and illustrious career, and recently celebrated her 90th birthday. The song itself has the joi-de-vivre that typifies the era and the Comets’ sound.
The rather un-PC titled ‘Chick Safari’ was released on Warner Brothers Records in 1960. It demonstrated a slight shift in style to a more Popcorn sound for Bill and the Comets. The vocals sound slightly distance and the backing has a mystical cadence. It’s enjoyed a renaissance in recent years, and will grace many a dancefloor in the future.
Even if you’re reading our magazine for the first time and a lot of the music might be alien to you, I’m pretty sure you know of Billy Haley and the Comets. Rock n Roll in a pure form with a joyous lilt and catchy titles and rhythms, that’s pretty much their recordings. Here is a two sider that couples together a pair of dancefloor corkers, on Festival Records.
‘Vive La Rock n Roll’ was recorded in 1958 and the cover artwork of this release, features the Comets and actress, singer, multi-linguist, dance and guitarist Carmen Valente. Carmen had also appeared with Perry Como, Bing Crosby, Dean Martin and Ella Fitzgerald, over a long and illustrious career, and recently celebrated her 90th birthday. The song itself has the joi-de-vivre that typifies the era and the Comets’ sound.
The rather un-PC titled ‘Chick Safari’ was released on Warner Brothers Records in 1960. It demonstrated a slight shift in style to a more Popcorn sound for Bill and the Comets. The vocals sound slightly distance and the backing has a mystical cadence. It’s enjoyed a renaissance in recent years, and will grace many a dancefloor in the future.
Bo Diddley – repro 45
Ellas Otha Bates (McDaniel), better known as Bo Diddley (1928 – 2008) was an immense performer, writer and musician. He played a custom made rectangular bodied ‘twang machine’ guitar and his ‘shave and a haircut for two bits’ style is unmistakeable. He often included ladies in his band, the likes of ‘The Duchess’ and ‘Lady Bo’, as well as Jerome Green on maracas.
This repro single has the coolest photograph on the sleeve, and a brace of Bo beauties within. ‘Rock ‘n’ Roll’ truly rocks from the opening bars, classic riffs, and Bo mid-way through insisting ‘That ain’t Rock n Roll, that’s Jazz’. Side two has ‘Hully Gully’ which appears to be the truncated title ‘Huckleberry Bush Hully Hully Gully’ from 1960, and the album ‘Bo Diddley is an Outlaw Vol 2’. A very underrated track, that retains the Bo Diddley ‘punch’, throughout
Top drawer
Ellas Otha Bates (McDaniel), better known as Bo Diddley (1928 – 2008) was an immense performer, writer and musician. He played a custom made rectangular bodied ‘twang machine’ guitar and his ‘shave and a haircut for two bits’ style is unmistakeable. He often included ladies in his band, the likes of ‘The Duchess’ and ‘Lady Bo’, as well as Jerome Green on maracas.
This repro single has the coolest photograph on the sleeve, and a brace of Bo beauties within. ‘Rock ‘n’ Roll’ truly rocks from the opening bars, classic riffs, and Bo mid-way through insisting ‘That ain’t Rock n Roll, that’s Jazz’. Side two has ‘Hully Gully’ which appears to be the truncated title ‘Huckleberry Bush Hully Hully Gully’ from 1960, and the album ‘Bo Diddley is an Outlaw Vol 2’. A very underrated track, that retains the Bo Diddley ‘punch’, throughout
Top drawer
Eddie Cochran – Repro 45
Much as with the Bill Haley record, I’d suggest that few people reading these reviews will not have heard of Eddie Cochran. An immensely talented guitarist, singer and songwriter his life was cut tragically short at the age of 21 on the 17th April 1960. His back catalogue is impressive and diverse. This 45rpm pairs two early songs.
‘Teenage Cutie’ has everything, a thumping bassline, moody and somewhat desperate lyrics, and super beat. It’s stripped back to basics music and above all, it’s brilliant. On the other side, the Cochran Borthers with ‘I’m Ready’. Simplistic lyrics that randomly rhyme and produce a classic, with Eddie’s eventual manager, Jerry Capehart, on vocals.
A must have
Much as with the Bill Haley record, I’d suggest that few people reading these reviews will not have heard of Eddie Cochran. An immensely talented guitarist, singer and songwriter his life was cut tragically short at the age of 21 on the 17th April 1960. His back catalogue is impressive and diverse. This 45rpm pairs two early songs.
‘Teenage Cutie’ has everything, a thumping bassline, moody and somewhat desperate lyrics, and super beat. It’s stripped back to basics music and above all, it’s brilliant. On the other side, the Cochran Borthers with ‘I’m Ready’. Simplistic lyrics that randomly rhyme and produce a classic, with Eddie’s eventual manager, Jerry Capehart, on vocals.
A must have
FTM v/s Swanny, Round 2 – 45rpm review
Ding ding, round two, as FTM Records releases another hot twin spin in the ‘versus Swanny’ series, and although not a selling point for many, I will say the colours on the label are smashing. So are the tunes!
The ‘A’ side is Swanny’s choice with, what a appears to have been, Rodger and the Tempests, only release on 45rpm, in 1962. The band were from Lincoln Nebraska and combine a fine Rockabilly sounding vocal, with surf styled backing, on the cool jive sound of ‘Bad Bad Way.
Flip it over and we have another sole release, this time form British session drummer, produce and manager, Howard Lowthian Conder, as Howie G Conder. ‘The Fix’ is from 1965, and was a ‘B’ side to ‘Big Noise from Winnetka’ on the Fontana label. It’s a zingy, hipster style, instrumental, big on percussion accompanying the high-pitched guitar sound
Cool beans
Ding ding, round two, as FTM Records releases another hot twin spin in the ‘versus Swanny’ series, and although not a selling point for many, I will say the colours on the label are smashing. So are the tunes!
The ‘A’ side is Swanny’s choice with, what a appears to have been, Rodger and the Tempests, only release on 45rpm, in 1962. The band were from Lincoln Nebraska and combine a fine Rockabilly sounding vocal, with surf styled backing, on the cool jive sound of ‘Bad Bad Way.
Flip it over and we have another sole release, this time form British session drummer, produce and manager, Howard Lowthian Conder, as Howie G Conder. ‘The Fix’ is from 1965, and was a ‘B’ side to ‘Big Noise from Winnetka’ on the Fontana label. It’s a zingy, hipster style, instrumental, big on percussion accompanying the high-pitched guitar sound
Cool beans
Janis Martin – Repro 45
The Queen of Rockabilly, the Female Elvis, are just a couple of titles given to Janis Darlene Martin (1940 – 2007), one of the few female stars, regularly recording, in a very male dominated era in the 50’s. This exquisitely packaged 45rpm, pairs up two classic Janis tracks.
‘Let’s Elope Baby’ was written by Buck Griffin, originally an ‘A’ side (to ‘Barefoot Baby’) in 1956, recounting a young couple in the flush of youthful love, taking a chance and running away to get married. This is all set to a joyous sounding beat, and interestingly, the theme is something that Janis experienced in real life.
‘Bang Bang’ is from the RCA Victor 1958 single which was originally credited to Janis and Her Boyfriends (with ‘Please Be My Love’ on the ‘B’ side). A cracking tune to ‘cock your pistol’ to.
The Queen of Rockabilly, the Female Elvis, are just a couple of titles given to Janis Darlene Martin (1940 – 2007), one of the few female stars, regularly recording, in a very male dominated era in the 50’s. This exquisitely packaged 45rpm, pairs up two classic Janis tracks.
‘Let’s Elope Baby’ was written by Buck Griffin, originally an ‘A’ side (to ‘Barefoot Baby’) in 1956, recounting a young couple in the flush of youthful love, taking a chance and running away to get married. This is all set to a joyous sounding beat, and interestingly, the theme is something that Janis experienced in real life.
‘Bang Bang’ is from the RCA Victor 1958 single which was originally credited to Janis and Her Boyfriends (with ‘Please Be My Love’ on the ‘B’ side). A cracking tune to ‘cock your pistol’ to.
Johnny Bond – Repro 45
Cyrus Whitfield Bond (1915 – 78) was professionally known as Country Music Hall of Famer, Johnny ‘The Singing Cowboy’ Bond. He and his band the Red River Valley Boys, fused Hillbilly and Jazz beats and rhythms to produce this exquisite pairing on Fury Records.
‘Mean Mama Boogie’ was originally recorded in 1949 and released in January 1950. It has a nippy Honky Tonk beat with Jerry Adler on harmonica and the legendary Noel Boggs on steel guitar. The lyrics tell of a loving partner and his other half’s infidelity.
‘Put Me To Bed’ is from 1947, on the Columbia label, and was a ‘B’ side to ‘I Like My Chicken Fryin’ Size’, the band’s debut single release. Listening to it, you can easily see where the influence was for the rhythms of ‘Mean Mama Boogie’.
Two real barn-burners
Cyrus Whitfield Bond (1915 – 78) was professionally known as Country Music Hall of Famer, Johnny ‘The Singing Cowboy’ Bond. He and his band the Red River Valley Boys, fused Hillbilly and Jazz beats and rhythms to produce this exquisite pairing on Fury Records.
‘Mean Mama Boogie’ was originally recorded in 1949 and released in January 1950. It has a nippy Honky Tonk beat with Jerry Adler on harmonica and the legendary Noel Boggs on steel guitar. The lyrics tell of a loving partner and his other half’s infidelity.
‘Put Me To Bed’ is from 1947, on the Columbia label, and was a ‘B’ side to ‘I Like My Chicken Fryin’ Size’, the band’s debut single release. Listening to it, you can easily see where the influence was for the rhythms of ‘Mean Mama Boogie’.
Two real barn-burners
Marshall Lytle – Repro 45
Marshall Edward Lytle (1933 – 2013), was a bass player best known for his work with Bill Haley’s Comets and the Jodimars. He co-wrote ‘Crazy Man Crazy’ and played bass on the era defining ‘Rock Around the Clock’. His stage presence was enthusiastic and energetic, right into his later years, when the original Comets reformed and toured.
Here he is on two recordings written by the incredibly talented Burnette Brothers, Johnny and Dorsey. ‘Be My Love’ fair nips along, with Marshall’s vocal having that slightly novelty sound, set against some class guitar work. ‘Hip Shakin’ Baby’ was recorded by the Jodimars with Marshall on vocals and I’m pretty sure this is the same recording. But a beauty nonetheless
Marshall Edward Lytle (1933 – 2013), was a bass player best known for his work with Bill Haley’s Comets and the Jodimars. He co-wrote ‘Crazy Man Crazy’ and played bass on the era defining ‘Rock Around the Clock’. His stage presence was enthusiastic and energetic, right into his later years, when the original Comets reformed and toured.
Here he is on two recordings written by the incredibly talented Burnette Brothers, Johnny and Dorsey. ‘Be My Love’ fair nips along, with Marshall’s vocal having that slightly novelty sound, set against some class guitar work. ‘Hip Shakin’ Baby’ was recorded by the Jodimars with Marshall on vocals and I’m pretty sure this is the same recording. But a beauty nonetheless
Simon Scott, Shane Fenton – repro 45
Remember the dance floor? Well, if you were around one over the last millennia, it seems, you’d have heard Simon Scott’s ‘Move It Baby’ from 1964 on Parlophone Records. Despite coming from the mid-sixties, it has that fifties feel to it and has been an established stroller for many years
Bernard William Jewry (1942 – 2014) had a moderately successful career in the pre-Beatles era, with four top 40 tracks as Shane Fenton. With his band, the Fentones, they recorded ‘It’s Gonna Take Magic’, which was a ‘B’ side to ‘Cindy’s Birthday’ in 1962. This track has a twisting and jive timbre, indicative of the stuff that was around at that time, and it’s enjoying good airtime again.
Remember the dance floor? Well, if you were around one over the last millennia, it seems, you’d have heard Simon Scott’s ‘Move It Baby’ from 1964 on Parlophone Records. Despite coming from the mid-sixties, it has that fifties feel to it and has been an established stroller for many years
Bernard William Jewry (1942 – 2014) had a moderately successful career in the pre-Beatles era, with four top 40 tracks as Shane Fenton. With his band, the Fentones, they recorded ‘It’s Gonna Take Magic’, which was a ‘B’ side to ‘Cindy’s Birthday’ in 1962. This track has a twisting and jive timbre, indicative of the stuff that was around at that time, and it’s enjoying good airtime again.
|
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. |
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/facility 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, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, 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. And when you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands
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. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures
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 much 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
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. And when you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands
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. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures
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 much 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
