The Bettajive review
King Pleasure at Rock Ridge Rumble. Scroll to see the review
Rock Around the Clock on our 78rpm
The Bettajive Review
Sounds. Now then readers, what do you listen to your music on or through? Many people we’ve spoken to, started by listening to parent’s 78’s, and the caveat that came with it. The threat that the punishment wold fit the crime, ‘If you break that, I’ll break you’ or ‘If you scratch that, I’ll scratch you’ (different times kids, and people on Twitter).
The problem with 78’s, was that they were made of thick and very brittle shellac, consisting partly of, ground up bug goo. Some record players in the 70’s, had that centre spindle where you could stack a few records one on top of another, and the mechanism allowed one to drop at a time. So, that drop would be about three to four inches, are you getting this picture readers?
You have a revolving turntable at seventy eight rpm, that’s nearly 30mph, and a brittle platter dropping with the added weight of the stabiliser arm as well. Well, that’s going to end well isn’t it? Those that didn’t crash down and end in a million bits in the bin, and sent borrowing kids running for the hills before telling the owner, contained some incredible sounds. They might have crackled, hissed or had the undertone of the revolving sound of the turntable belt, but for many, they carved your musical path.
Sounds. Now then readers, what do you listen to your music on or through? Many people we’ve spoken to, started by listening to parent’s 78’s, and the caveat that came with it. The threat that the punishment wold fit the crime, ‘If you break that, I’ll break you’ or ‘If you scratch that, I’ll scratch you’ (different times kids, and people on Twitter).
The problem with 78’s, was that they were made of thick and very brittle shellac, consisting partly of, ground up bug goo. Some record players in the 70’s, had that centre spindle where you could stack a few records one on top of another, and the mechanism allowed one to drop at a time. So, that drop would be about three to four inches, are you getting this picture readers?
You have a revolving turntable at seventy eight rpm, that’s nearly 30mph, and a brittle platter dropping with the added weight of the stabiliser arm as well. Well, that’s going to end well isn’t it? Those that didn’t crash down and end in a million bits in the bin, and sent borrowing kids running for the hills before telling the owner, contained some incredible sounds. They might have crackled, hissed or had the undertone of the revolving sound of the turntable belt, but for many, they carved your musical path.
The single, or 45, or 7” format on vinyl. Much better. The material was tough and durable polyvinyl chloride, you could stack four or five singles on top of each other and have them drop after each track. Most of my contemporaries’ parents had a collection of 45s that we could sift through (under the same caveat as with the 78s). My mate’s nan, had stuff like Bill Haley’s ‘Green Tree Boogie’ and ‘Sundown Boogie’ on 45. Incredible on many levels, given that I only knew the commercial stuff to that point.
Its bigger brother, the 12” LP (long player) had multiple tracks on either side, so suddenly there was a whole new world opened up with the ’20 Rock n Roll Greats’ type of compilation. That and the ‘Greatest Hits’ of one particular artist. Not forgetting the 10” record, of which there were plenty, and bands like the Hicksville Bombers, are still releasing material on that format.
There were a few downsides to vinyl records though. Depending where they were kept. If they were exposed to heat or left in the sunlight, they’d warp, so a pile of LPs would look like a stack of black poppadums. The sound would be equally warped. Then there was scratching, jumping, sticking, the stylus of the player collecting dust and being unable to engage with the groove in the record, this sliding across it with a gut wrenching ‘vvvvrrrrttt’.
Its bigger brother, the 12” LP (long player) had multiple tracks on either side, so suddenly there was a whole new world opened up with the ’20 Rock n Roll Greats’ type of compilation. That and the ‘Greatest Hits’ of one particular artist. Not forgetting the 10” record, of which there were plenty, and bands like the Hicksville Bombers, are still releasing material on that format.
There were a few downsides to vinyl records though. Depending where they were kept. If they were exposed to heat or left in the sunlight, they’d warp, so a pile of LPs would look like a stack of black poppadums. The sound would be equally warped. Then there was scratching, jumping, sticking, the stylus of the player collecting dust and being unable to engage with the groove in the record, this sliding across it with a gut wrenching ‘vvvvrrrrttt’.
Spool to spool, or reel to reel if you will, tape recorders, where you threaded the magnetic tape from one to another. They, as I recall, were pre-recorded tapes, and to record anything onto blank tapes, you had a little grilly microphone. The start up sound of the one my parents had, sounded like a small hovercraft. I don’t really recall much music on the tapes, just raucous renditions of ‘Jingle Bells’ at family Christmas parties, and my dad blowing a raspberry into the mic.
Then Philips, in Belgium, revolutionised the way we could listen to, and indeed record music. The compact cassette. If you are of our ‘vintage’, this format was the one to have. Two diddy little spools in an oblong shaped plastic container, that you could buy pre-recorded or empty so you could record your own stuff. C30, C60, C90 denoted the number of minutes you could tape music on. But every tape a mate would record would have at least one song cut off as the tape ran out. Mind you, ‘Home taping is killing music’, we were told. Last month we touched on the Bill Haley cassette I’d bought, and for a few coins you could pick up a serious amount of rock n roll on tape. I got a Philips EL 3302 player for Christmas (when batteries weren’t included), which was space age at the time.
Then Philips, in Belgium, revolutionised the way we could listen to, and indeed record music. The compact cassette. If you are of our ‘vintage’, this format was the one to have. Two diddy little spools in an oblong shaped plastic container, that you could buy pre-recorded or empty so you could record your own stuff. C30, C60, C90 denoted the number of minutes you could tape music on. But every tape a mate would record would have at least one song cut off as the tape ran out. Mind you, ‘Home taping is killing music’, we were told. Last month we touched on the Bill Haley cassette I’d bought, and for a few coins you could pick up a serious amount of rock n roll on tape. I got a Philips EL 3302 player for Christmas (when batteries weren’t included), which was space age at the time.
The famous EL 3302
The problems with machine like that at the time was there was no auto-stop. So, if the tape reached the end, it would keep ‘playing’. The machine ran with batteries, that cost a King’s ransom, new ones saw the indicator needle whizz over to the right, and stayed there for about a day. Then it would drop back like a stone. Buying Ever Ready (other companies producing batteries, are available) was cost prohibitive, so it was often the cheaper ones with a lightning strike in cartoon form on the side that powered the cassette player.
Cheaper batteries, equalled less life. What drained them was the stop-rewind-play-stop-rewind-play-stop formula of hearing your favourite track, and as mentioned above the lack of auto stop. One time I’d finally raked enough cash together to buy a set of Ever Ready batteries, put them in the machine, and played a tape. Then went to school, and got home to the play button stuck on, and dead batteries.
To combat the energy sapping rewind, you could get a pencil with edges, put it in the spool and wind it back yourself. It went really well in double maths at school as you saved your batteries and relieved the incessant drudgery of the ratio of the length of the adjacent side to the length of the hypotenuse (I’m so glad I learnt that; it’s been sooooo useful in my life). Double bubble. How many of you doing this heard that infamous phrase ‘Are you listening boyyyyy?? Yes you boy. Are you listening?’ Wouldn’t you have just loved to say ‘To be honest sir, this type of lesson’s a bit boring so I thought I’d give it a miss today’?
Cheaper batteries, equalled less life. What drained them was the stop-rewind-play-stop-rewind-play-stop formula of hearing your favourite track, and as mentioned above the lack of auto stop. One time I’d finally raked enough cash together to buy a set of Ever Ready batteries, put them in the machine, and played a tape. Then went to school, and got home to the play button stuck on, and dead batteries.
To combat the energy sapping rewind, you could get a pencil with edges, put it in the spool and wind it back yourself. It went really well in double maths at school as you saved your batteries and relieved the incessant drudgery of the ratio of the length of the adjacent side to the length of the hypotenuse (I’m so glad I learnt that; it’s been sooooo useful in my life). Double bubble. How many of you doing this heard that infamous phrase ‘Are you listening boyyyyy?? Yes you boy. Are you listening?’ Wouldn’t you have just loved to say ‘To be honest sir, this type of lesson’s a bit boring so I thought I’d give it a miss today’?
One of our record players of a certain vintage
One of the other problems with tapes, was the propensity for them to get stuck, chewed or mangled in amongst the mechanism of the player. The first you’d know about it was the song playing, stopping in mid flow. Lift the cassette out and find that the tape disappears into the machine. Any movement and both spools would discharge yet more tape. Pull it one way, no movement, pull the other side, no movement.
After an hour of teasing about with pencil points, cocktail sticks and that funny piece of kit in a student’s set that had two points on it, next to the compass, (what the actual …. was that?) finally it’s out. But, it’s not good news, the tape is so badly damaged, it’s effectively ruined. And that dear readers, was the prequel to the strange thin brown tape dressing to many a roadside bush.
All of the above could be played on a ‘music centre’. This had style and panache. You lifted the tone arm, offered it toward the turntable and it started to turn, effortlessly and silently. The cassette drawer, opened slowly and presented you with your cassette in a ‘for you, Sir’ fashion, rather than the aggressive snap open of previous players, that flung it across the floor. And the ‘graphic equalisers’, where you could, erm, well, erm, equalise the graphics (Der!)
I never owned a mini disc or mini disc player, but I wonder what happened to them?
After an hour of teasing about with pencil points, cocktail sticks and that funny piece of kit in a student’s set that had two points on it, next to the compass, (what the actual …. was that?) finally it’s out. But, it’s not good news, the tape is so badly damaged, it’s effectively ruined. And that dear readers, was the prequel to the strange thin brown tape dressing to many a roadside bush.
All of the above could be played on a ‘music centre’. This had style and panache. You lifted the tone arm, offered it toward the turntable and it started to turn, effortlessly and silently. The cassette drawer, opened slowly and presented you with your cassette in a ‘for you, Sir’ fashion, rather than the aggressive snap open of previous players, that flung it across the floor. And the ‘graphic equalisers’, where you could, erm, well, erm, equalise the graphics (Der!)
I never owned a mini disc or mini disc player, but I wonder what happened to them?
Then along came the Compact Disc, CDs. This media was more revolutionary than Maximilien Robespierre. The digital data storage in disc form that you just couldn’t damage. Leave it in the rain, jump on it or cover it with honey, it will still work. Cobblers. If that’s the case, why do they get a slight thumbprint blemish on them and suddenly it’s ‘dipdipdipdipdip mmmmga mmmmga mmmmga’?
CDs for a while, almost declared the other mediums extinct for many of us. Bands released their music on that format forsaking many others, until vinyl enjoyed a renaissance. All of the above though, face an uphill battle against what you can keep on a mobile device. You can store twenty mozillion tracks on your phone, shuffle them up automatically and play them through a teensie little Bluetooth speaker, and make the walls of your house vibrate.
I still like the physical thing to own, rather than a virtual tune. Indeed, when we finally had to change our laptop to the one, I type this on right now, on looking at them all, I wondered where the CD drawer was. Some bearded ‘oik’ half my age comes over so we asked him. ‘Seeeeeee deeeee?’. Apparently, there isn’t one needed now……
Although many DJs play vinyl at our gigs, and in many other genres, let’s face it, scratch mix wouldn’t work very well with CDs would it, I wonder where it will all go from here. Everything on one ear-bud perhaps (I’m having a slice of that financial pie if it gets invented, you read it here first), where you could think of a tune and it plays. Quite literally having a tune on your mind.
Dot…dot Best tracks in the world ever ever to crisp up your crackling for this month are ‘Hey Doll Baby’ by the Clovers, ‘Uncle John’s Bongos’ by Johnny and Jack and ‘Stringer’ by Bobby Fuller……….At this point we welcome back those who have been looking up ‘terpsichorean’…….Another of the Rockabilly greats has recently passed on, Lew Williams, whose ‘Cat Talk’ on Imperial from 1956, is one of the standout tracks in our music….. At this point we welcome back those who have searched out Maximilien Robespierre, and complained on social media he wasn’t rockin’, although part of him rolled…….We watched a documentary on ‘Yesterday’ about the Zoot Suit Riots. Not a music program, but ironic that they showed dance moves from the early forties that some dance teachers of today, reckoned they’d invented………At this point we welcome those who went straight to the Rumble review, YES YOU! ;)
CDs for a while, almost declared the other mediums extinct for many of us. Bands released their music on that format forsaking many others, until vinyl enjoyed a renaissance. All of the above though, face an uphill battle against what you can keep on a mobile device. You can store twenty mozillion tracks on your phone, shuffle them up automatically and play them through a teensie little Bluetooth speaker, and make the walls of your house vibrate.
I still like the physical thing to own, rather than a virtual tune. Indeed, when we finally had to change our laptop to the one, I type this on right now, on looking at them all, I wondered where the CD drawer was. Some bearded ‘oik’ half my age comes over so we asked him. ‘Seeeeeee deeeee?’. Apparently, there isn’t one needed now……
Although many DJs play vinyl at our gigs, and in many other genres, let’s face it, scratch mix wouldn’t work very well with CDs would it, I wonder where it will all go from here. Everything on one ear-bud perhaps (I’m having a slice of that financial pie if it gets invented, you read it here first), where you could think of a tune and it plays. Quite literally having a tune on your mind.
Dot…dot Best tracks in the world ever ever to crisp up your crackling for this month are ‘Hey Doll Baby’ by the Clovers, ‘Uncle John’s Bongos’ by Johnny and Jack and ‘Stringer’ by Bobby Fuller……….At this point we welcome back those who have been looking up ‘terpsichorean’…….Another of the Rockabilly greats has recently passed on, Lew Williams, whose ‘Cat Talk’ on Imperial from 1956, is one of the standout tracks in our music….. At this point we welcome back those who have searched out Maximilien Robespierre, and complained on social media he wasn’t rockin’, although part of him rolled…….We watched a documentary on ‘Yesterday’ about the Zoot Suit Riots. Not a music program, but ironic that they showed dance moves from the early forties that some dance teachers of today, reckoned they’d invented………At this point we welcome those who went straight to the Rumble review, YES YOU! ;)
Phil Haley at Dominos
Go man go. This month’s club gig takes us to Letchworth in Hertfordshire, and the Jackman Community Centre, hosting Domino’s Rock n Roll Club. Entertainment for the evening, Phil Haley and the Comments, DJs Domino and Andy ‘The Tartan Ted’ Tolcher. This band always draw in a good crowd, although they were a little while arriving, then suddenly, it looked like a busload had turned up.
There surely cannot be anything more satisfying as a performer or DJ than to see your gig or venue hopped up and bouncing with dancers and music lovers. This was the case with the two DJs alternating, playing tracks like Buddy Greco’s ‘Around the World’, Tommy Ridgely’s ‘Jam Up Twist’ and Pat Cupp’s ‘Do Me No Wrong’. So there’s variation aplenty from the decks, and with a sprung wooden dancefloor, as you can see from the slideshow, sufficiently spacious for terpsichorean types.
Right about nine, on came the band, the classic four piece Phil Haley on lead guitar, Martyn Savage – upright bass, Gary Davidson – drums and Allen Parris on sax. Dressed in their black and yellow tartan jackets, a la Haley’s Comets, they don’t only look the part, they are the part. I wonder, are the yellow jackets for evening gigs and the red for daytime? Just a thought.
There surely cannot be anything more satisfying as a performer or DJ than to see your gig or venue hopped up and bouncing with dancers and music lovers. This was the case with the two DJs alternating, playing tracks like Buddy Greco’s ‘Around the World’, Tommy Ridgely’s ‘Jam Up Twist’ and Pat Cupp’s ‘Do Me No Wrong’. So there’s variation aplenty from the decks, and with a sprung wooden dancefloor, as you can see from the slideshow, sufficiently spacious for terpsichorean types.
Right about nine, on came the band, the classic four piece Phil Haley on lead guitar, Martyn Savage – upright bass, Gary Davidson – drums and Allen Parris on sax. Dressed in their black and yellow tartan jackets, a la Haley’s Comets, they don’t only look the part, they are the part. I wonder, are the yellow jackets for evening gigs and the red for daytime? Just a thought.
Whatever, they hit the spot with the opener, which those of you reading about Rock n Roll for the first time will immediately recognise, ‘Shake Rattle and Roll’. Seamlessly they barely finished that tune before we encouraged to ‘Rip It Up’. Allen’s sax came to the fore with ‘Rudy’s Rock’ which morphs into the guitar pickin’ ‘Goofin Around’ and back again.
Martyn picked up vocals with a brace of Haley rockers ‘Hide and Seek’ and ‘Rocking Chair on the Moon’, before they showcased one of their new tracks from the upcoming release, probably in six to eight weeks. ‘Mary Ann Thomas’ I personally think will overtake ‘Talk To Me’ as the most played dancefloor track performed by the band (once it's released on record). It has everything, catchy rhythm and jive tempo, what’s not to like?
Between the sets, more from Tartan Ted and Domino, before the lads were back on for more of the same, featuring the afore mentioned ‘Talk To Me’ among more Bill Haley standards, ‘Real Rock Drive’ and ‘Birth of a Boogie’. ‘West Coast Swing’, that’s another of their, yet to be released (I think) tracks, and if you haven’t heard it, it’s another stick-on dance floor champ.
Jumping up on stage also during the second set, Baby Jai to take vocals on a couple of Comets faves ‘Farewell, So Long Goodbye’ the flip to ‘Live it Up’ from ‘53 and the Decca cut from ’54, ‘Happy Baby’.
It’s almost customary for them to finish off with ‘Tom Hark’ an interesting little joviality originally recorded by the wonderfully named Elias and his Zig Zag Jive Flutes in 1958, and butchered by the Piranhas in 1980.
Another barn burner from Domino’s club
Martyn picked up vocals with a brace of Haley rockers ‘Hide and Seek’ and ‘Rocking Chair on the Moon’, before they showcased one of their new tracks from the upcoming release, probably in six to eight weeks. ‘Mary Ann Thomas’ I personally think will overtake ‘Talk To Me’ as the most played dancefloor track performed by the band (once it's released on record). It has everything, catchy rhythm and jive tempo, what’s not to like?
Between the sets, more from Tartan Ted and Domino, before the lads were back on for more of the same, featuring the afore mentioned ‘Talk To Me’ among more Bill Haley standards, ‘Real Rock Drive’ and ‘Birth of a Boogie’. ‘West Coast Swing’, that’s another of their, yet to be released (I think) tracks, and if you haven’t heard it, it’s another stick-on dance floor champ.
Jumping up on stage also during the second set, Baby Jai to take vocals on a couple of Comets faves ‘Farewell, So Long Goodbye’ the flip to ‘Live it Up’ from ‘53 and the Decca cut from ’54, ‘Happy Baby’.
It’s almost customary for them to finish off with ‘Tom Hark’ an interesting little joviality originally recorded by the wonderfully named Elias and his Zig Zag Jive Flutes in 1958, and butchered by the Piranhas in 1980.
Another barn burner from Domino’s club
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Start your engines. A gloriously hot Sunday in late August, saw us take a trip to Stonham Barns, for the Knuckle Busters Classic Car show. On the Sunday there’s the Show ‘n’ Shine Show where folks enter their car, truck or bike, with a tremendous amount of people coming along just to view vehicles.
Stonham Barns can be found in the Suffolk countryside, and is an active and busy complex, ranging from shops to the owl sanctuary. The Bank Holiday weekend was all about cars, and a bit of Rock n Roll music as well, courtesy of DJ Crazy Nadge, and the Blazin’ Aces band on stage.
Now readers, what I know about cars, bikes and trikes, you can fit on top of a gear knob. Basically, a wheel at each corner and some petrol is as far as I go. What I can do however is admire people’s dedication to maintaining and preserving these fine vehicles, as well as keeping them running. Some pictures here are of just a few that were on show that day. We didn’t know who’s was who, so just be aware that we picked some that caught our eye.
The Blazin’ Aces, stoically played their set in the marquee, where there occasionally was a slight breeze, my goodness it was hot. Many tracks they played, would have been familiar to those into the music style already, however it’s always good to see folk that haven’t heard the likes of ‘Hey Mae’, ‘Lookout Heart’, ‘Warpaint’ ‘Blue Days Black Nights’ and ‘Twenty Flight Rock’, digging the sounds. We need to see these guys on a stage in a rocking club soon.
Sideshow below, click on the images to enlarge
Stonham Barns can be found in the Suffolk countryside, and is an active and busy complex, ranging from shops to the owl sanctuary. The Bank Holiday weekend was all about cars, and a bit of Rock n Roll music as well, courtesy of DJ Crazy Nadge, and the Blazin’ Aces band on stage.
Now readers, what I know about cars, bikes and trikes, you can fit on top of a gear knob. Basically, a wheel at each corner and some petrol is as far as I go. What I can do however is admire people’s dedication to maintaining and preserving these fine vehicles, as well as keeping them running. Some pictures here are of just a few that were on show that day. We didn’t know who’s was who, so just be aware that we picked some that caught our eye.
The Blazin’ Aces, stoically played their set in the marquee, where there occasionally was a slight breeze, my goodness it was hot. Many tracks they played, would have been familiar to those into the music style already, however it’s always good to see folk that haven’t heard the likes of ‘Hey Mae’, ‘Lookout Heart’, ‘Warpaint’ ‘Blue Days Black Nights’ and ‘Twenty Flight Rock’, digging the sounds. We need to see these guys on a stage in a rocking club soon.
Sideshow below, click on the images to enlarge
Hello all, June here.
I am co-owner of the Bettajive Review on line magazine.
We are moving the magazine onward and upward, a few people said that they still like to read a paper copy of magazines which we appreciate, however the world is going digital including many books and magazines. Hence our new venture.
We started, with Andrew doing the reviews, interviews and cd reviews and me taking the photos at gigs, weekenders and the like. We now have two cameras and will both be photographing and writing. Andrew’s reviews are unique, he researches everything in depth before writing it down, mine will be simple.
Although we pretty much like the same things i.e bands etc. we do sometimes differ.
I will be mentioning my favourite songs, a hint for some DJ's maybe 😉 We go to a lot of gigs, roughly eight weekenders a year and many festivals, which means a lot of work, to produce this magazine. Thankfully we have been able to get some of the top promoters on our scene supporting what we do.
We hope you enjoy reading our reviews and looking at our photos.
Many thanks in advance for all your support 👍
I am co-owner of the Bettajive Review on line magazine.
We are moving the magazine onward and upward, a few people said that they still like to read a paper copy of magazines which we appreciate, however the world is going digital including many books and magazines. Hence our new venture.
We started, with Andrew doing the reviews, interviews and cd reviews and me taking the photos at gigs, weekenders and the like. We now have two cameras and will both be photographing and writing. Andrew’s reviews are unique, he researches everything in depth before writing it down, mine will be simple.
Although we pretty much like the same things i.e bands etc. we do sometimes differ.
I will be mentioning my favourite songs, a hint for some DJ's maybe 😉 We go to a lot of gigs, roughly eight weekenders a year and many festivals, which means a lot of work, to produce this magazine. Thankfully we have been able to get some of the top promoters on our scene supporting what we do.
We hope you enjoy reading our reviews and looking at our photos.
Many thanks in advance for all your support 👍
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Your host, DJ Domino, Nigel Babb, has built the Domino’s club up to become one of the places to go to in Hertfordshire. Mixing up the styles of bands and DJs, means there’s something different each time. Nigel and his partner, Beverly, have a few gigs left in 2019, check ‘em out on the flyer.
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Lowestoft's Fireball Rock n Roll Club, is the most Easterly venue on the Rock n Roll scene. Your hosts, Ian and Johanna Soanes have secured a beauty of a gig in early October
From the North West, it's Razor Holler, a band that you can read about lower down in the Rock Ridge Rumble weekender review. It's a real coup for the Fireball to bring them all the way to the Football club in Love Road. Make a date in your diaries readers, you won't want to miss out. 
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interview with bob plumb
Bob at this year's Shake Rattle and Roll event
Interview with Bob Plumb
Bob Plumb, if you don’t know, is the bassist with Rock n Roll and Rockabilly band, Rockhouse. The name was synonymous with the Rock n Roll scene around the area I grew up in, and as fledgling rockers, still in school, you could guarantee a good night close by, when they played.
I don’t think he’ll mind me saying, there are a few years between us, and I think I met him when I was about fourteen. There was more to Rockhouse that being just another Rock n Roll band. Here was a band that had a slap bass, the first I think I’d ever seen played live. To that point it was wondering what that ticking sound was on Bill Haley tracks, for instance.
Rockhouse were playing songs I’d never heard of before. While many bands were taking on ‘Rock Around the Clock’ and ‘Sweet Little Sixteen’, Rockhouse were playing ‘Drowning All My Sorrows’, ‘Tired and Sleepy’ and ‘Rocking Redwing’. I had their promo pics (below) on my wall as a teenager.
In ’79 and ’80 they released a couple of singles and an EP (which was recorded live in Essex). Me and my mates were still at school and reckoned, (rather foolishly I admit) that if we all bought a single, mine’s pictured below, it would get into the charts.
All these years on, and the personnel of the band has changed, but there is one consistent. Here we ask Bob about himself, Rockhouse, and meeting Gene Vincent
Bob Plumb, if you don’t know, is the bassist with Rock n Roll and Rockabilly band, Rockhouse. The name was synonymous with the Rock n Roll scene around the area I grew up in, and as fledgling rockers, still in school, you could guarantee a good night close by, when they played.
I don’t think he’ll mind me saying, there are a few years between us, and I think I met him when I was about fourteen. There was more to Rockhouse that being just another Rock n Roll band. Here was a band that had a slap bass, the first I think I’d ever seen played live. To that point it was wondering what that ticking sound was on Bill Haley tracks, for instance.
Rockhouse were playing songs I’d never heard of before. While many bands were taking on ‘Rock Around the Clock’ and ‘Sweet Little Sixteen’, Rockhouse were playing ‘Drowning All My Sorrows’, ‘Tired and Sleepy’ and ‘Rocking Redwing’. I had their promo pics (below) on my wall as a teenager.
In ’79 and ’80 they released a couple of singles and an EP (which was recorded live in Essex). Me and my mates were still at school and reckoned, (rather foolishly I admit) that if we all bought a single, mine’s pictured below, it would get into the charts.
All these years on, and the personnel of the band has changed, but there is one consistent. Here we ask Bob about himself, Rockhouse, and meeting Gene Vincent
Bob behind Gene at Heathrow
BJR. Now, I’ve known you a long time, probably we met in the mid-70’s, when I were nowt but a lad. So your history. When did you get into Rock n Roll music, and indeed the clothes?
BP. I started watching 6-5 Special and Oh Boy with my brother who was 5 years older than me. I also listened to his records. Mostly Buddy Holly, Everly Brothers. The first record I bought myself with money I saved, was ‘Charlie Brown’ by the Coasters. I pooled pocket money with my Brother to buy the ten inch LP. The Tommy Steele Story. Which had amongst other songs, ‘Build up!’ on it. I have never stopped Collecting records since then. Believe it or not I was only 8-9years old at this time.
As for the 50’s fashion. I saw older friends and neighbours dressed in Teddy boy Style and American style 50 clothes, but I was really too young to take much notice until I went secondary school at 11. When I was in the first year, I saw that in the Fifth year were some Teddy Boys. Including someone called Jeff Hayden. They came to school every day in drapes. I never spoke to them. As you wouldn’t, being 5 years younger. But I liked the style and thought. I like that. They also had a bit of a menacing atmosphere around them. I think that impressed me as well. We were now in the sixties.
The School was split Mods and Rockers. I got a leather Jacket and jeans. The Teds had left. I left at fifteen. Got a job Got a motor bike. It was on the road on my 16th birthday. Off to the Calypso Coffee bar Who was there, but Jeff Hayden Playing Rock and Roll on the Jukebox. I was adopted by him and his older mates and we hit the Coffee bar and Rock and roll scene. In 1968 one of Jeff’s mates introduced us to the Swan, Kingston on Thames. Which had Rock and Roll with the Impalas every Sunday. We Also found a pub in London called the Black Raven. Which at that time had a few Ted’s there. I mean 6 or 7. It soon took off.
BJR. It’s a strange thing, years ago, I watched the documentary ‘Rock n Roll Singer’ about Gene Vincent’s 1969 tour of the UK. Right at the start, as Gene gets off the plane, there’s you! What do you recall from that day? How did you know Gene was coming in on that flight for example?
BP I belonged to the Gene Vincent Fan Club. It was Run By Adrian Owlett and Harry Dodds if I remember correctly. The details of him arriving were in the Club Magazine. I told my boss I needed the day off to meet someone at the airport. I nearly got the sack when my picture was on the front page of the morning papers. I think it was the Daily Mirror and The Sketch. I used to subscribe to lots of Rock and Roll Mags. Like Fireball Express Etc
BJR. Did you get to see him at any of the shows?
BP. I saw him three or four times on that tour. But I can’t remember exactly. I remember one was in Southhall Middlesex. I saw him at the London Palladium. That might have been a different tour
BP. I started watching 6-5 Special and Oh Boy with my brother who was 5 years older than me. I also listened to his records. Mostly Buddy Holly, Everly Brothers. The first record I bought myself with money I saved, was ‘Charlie Brown’ by the Coasters. I pooled pocket money with my Brother to buy the ten inch LP. The Tommy Steele Story. Which had amongst other songs, ‘Build up!’ on it. I have never stopped Collecting records since then. Believe it or not I was only 8-9years old at this time.
As for the 50’s fashion. I saw older friends and neighbours dressed in Teddy boy Style and American style 50 clothes, but I was really too young to take much notice until I went secondary school at 11. When I was in the first year, I saw that in the Fifth year were some Teddy Boys. Including someone called Jeff Hayden. They came to school every day in drapes. I never spoke to them. As you wouldn’t, being 5 years younger. But I liked the style and thought. I like that. They also had a bit of a menacing atmosphere around them. I think that impressed me as well. We were now in the sixties.
The School was split Mods and Rockers. I got a leather Jacket and jeans. The Teds had left. I left at fifteen. Got a job Got a motor bike. It was on the road on my 16th birthday. Off to the Calypso Coffee bar Who was there, but Jeff Hayden Playing Rock and Roll on the Jukebox. I was adopted by him and his older mates and we hit the Coffee bar and Rock and roll scene. In 1968 one of Jeff’s mates introduced us to the Swan, Kingston on Thames. Which had Rock and Roll with the Impalas every Sunday. We Also found a pub in London called the Black Raven. Which at that time had a few Ted’s there. I mean 6 or 7. It soon took off.
BJR. It’s a strange thing, years ago, I watched the documentary ‘Rock n Roll Singer’ about Gene Vincent’s 1969 tour of the UK. Right at the start, as Gene gets off the plane, there’s you! What do you recall from that day? How did you know Gene was coming in on that flight for example?
BP I belonged to the Gene Vincent Fan Club. It was Run By Adrian Owlett and Harry Dodds if I remember correctly. The details of him arriving were in the Club Magazine. I told my boss I needed the day off to meet someone at the airport. I nearly got the sack when my picture was on the front page of the morning papers. I think it was the Daily Mirror and The Sketch. I used to subscribe to lots of Rock and Roll Mags. Like Fireball Express Etc
BJR. Did you get to see him at any of the shows?
BP. I saw him three or four times on that tour. But I can’t remember exactly. I remember one was in Southhall Middlesex. I saw him at the London Palladium. That might have been a different tour
Bob top right, with early Rockhouse
BJR. Recently we’ve seen on Facebook, pics of your wedding to Sue, and photos of you both at the Black Raven for example. Do we presume that you’re not a native of Suffolk, where I know you both from?
BP. I was born in the East End of London. Bow. I moved to Hackney Then to Chingford.
Sue was born in Ilford. She moved to Chingford when she was young but we met in Walthamstow. It was more lively in Walthamstow. And she had a copy of Bill Haley’s Rock the Joint LP on London Label and Little Richard Also some Elvis Presley HMV 78’s.
It was meant to be 😊
BJR. To your own musical career. The upright bass, why did you choose that instrument, or did it ‘choose you’?
BP. I started on Electric Bass. But I had been collecting Sun records. Bill Haley, and searching out (at that time) rarer stuff like Charlie Feathers. Johnny Carrol. Johnny Burnette. I wanted to get that sound and they all had double bass. At that time none of the bands (that I knew of!) had one.
BJR. Tell us how Rockhouse were formed.
BP. When we married in 1972 we moved to Suffolk. I met some like minded Rocking people in the area and became friends. A few of us found a place in Braintree called the 2 J’s. club It had a Rock and Roll band occasionally. The DJ was not Rock and Roll so together with my friend Kenny Alleston we offered our services and became the DJ’s. We started a regular once a month Rock and Roll night. We then started also, to decide the bands to book. We had all the best bands on the circuit at that time. I met Dick Keeble there who played guitar. He had a Bass Guitar for sale. I bought it learnt a few songs. And we got together with his friend Ben Matz who played Rhythm Guitar and Dick’s brother Terry as Singer and I knew a Drummer Kevin Nolan. And that was the start of Rockhouse. We did our first gig at the 2 j’s
BP. I was born in the East End of London. Bow. I moved to Hackney Then to Chingford.
Sue was born in Ilford. She moved to Chingford when she was young but we met in Walthamstow. It was more lively in Walthamstow. And she had a copy of Bill Haley’s Rock the Joint LP on London Label and Little Richard Also some Elvis Presley HMV 78’s.
It was meant to be 😊
BJR. To your own musical career. The upright bass, why did you choose that instrument, or did it ‘choose you’?
BP. I started on Electric Bass. But I had been collecting Sun records. Bill Haley, and searching out (at that time) rarer stuff like Charlie Feathers. Johnny Carrol. Johnny Burnette. I wanted to get that sound and they all had double bass. At that time none of the bands (that I knew of!) had one.
BJR. Tell us how Rockhouse were formed.
BP. When we married in 1972 we moved to Suffolk. I met some like minded Rocking people in the area and became friends. A few of us found a place in Braintree called the 2 J’s. club It had a Rock and Roll band occasionally. The DJ was not Rock and Roll so together with my friend Kenny Alleston we offered our services and became the DJ’s. We started a regular once a month Rock and Roll night. We then started also, to decide the bands to book. We had all the best bands on the circuit at that time. I met Dick Keeble there who played guitar. He had a Bass Guitar for sale. I bought it learnt a few songs. And we got together with his friend Ben Matz who played Rhythm Guitar and Dick’s brother Terry as Singer and I knew a Drummer Kevin Nolan. And that was the start of Rockhouse. We did our first gig at the 2 j’s
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Rockhouse as a four piece
BJR. When Kenny left, you took on the singing duties yourself, something you still do today. Were you prepared for that initially?
BP. Kenny became singer after Terry left. Terry’s wife had a baby, and he couldn’t commit to the band. Dick, Ben and myself had always from the very start sang a couple of numbers each in the set. By the time Kenny left we had got better at it, so we decided to continue as a 4 piece. But we had great times in that period and after.
BJR. Rockhouse had a hiatus, what prompted the reformation of the band?
BP Just circumstances really. Families. Work. That type of thing. We did get together now and then and do a few gigs. Mainly charity things.
We got back together properly when we were encouraged to do so by our old roadie, Hawk (Ian Rolf ). We were just going to do it occasionally. But it seemed to pick up speed very quickly
BJR. I’m going to put you on the spot here, what are your favourite songs to perform, whether instrumental or if you’re singing.
BP. It changes really. I love the Haley songs. The unusual ones like ‘Rocket Trip’. I love Dave’s sax Instrumentals and Ian’s piano breaks. And Dick’s guitar licks. I love it all. If we don’t like it and enjoy playing it, it doesn’t go in the set.
BJR. Thinking about the Rock n Roll scene today versus the time when you first got into it. How different is it, be it positive or negative or a bit of both.
BP. A bit of both really. I love the whole spectrum of Rocking music. When I started, there was no differences between all of rocking music. Whether it was Johnny Carol, Smiley Lewis. Bill Haley. It’s all Rock n Roll to me.
I don’t like going to a Rock and Roll night to find it’s a Country and Western band there.
But that doesn’t mean I don’t like Country and Western. Some of the B sides of Sun Record are great. ‘Take and Give’ by Slim Rhodes for instance. Great as a slow song. If I went to a Country and western gig. I wouldn’t expect a band like ours.
One thing I hate is the Rocking up of POP music, just because it’s got a slap bass or wearing 50’s clothes, it doesn’t make it Rockin’ I do like songs that are more recently written for the Rocking scene. If they sound like they were written in the 50’s or the early Rocking part of the 60’s. And they are good of course. Just my opinion. I don’t want to start a war. Lol
BJR. For those who would like more information on the band, where can they contact you?
BP. We have a Rockhouse Facebook page.
You can Email. [email protected]
You can Phone me for information to book the band. O1787371131 or 07963210688
BJR Thank you Bob for this interview.
BP Thank you very much for asking me.
BP. Kenny became singer after Terry left. Terry’s wife had a baby, and he couldn’t commit to the band. Dick, Ben and myself had always from the very start sang a couple of numbers each in the set. By the time Kenny left we had got better at it, so we decided to continue as a 4 piece. But we had great times in that period and after.
BJR. Rockhouse had a hiatus, what prompted the reformation of the band?
BP Just circumstances really. Families. Work. That type of thing. We did get together now and then and do a few gigs. Mainly charity things.
We got back together properly when we were encouraged to do so by our old roadie, Hawk (Ian Rolf ). We were just going to do it occasionally. But it seemed to pick up speed very quickly
BJR. I’m going to put you on the spot here, what are your favourite songs to perform, whether instrumental or if you’re singing.
BP. It changes really. I love the Haley songs. The unusual ones like ‘Rocket Trip’. I love Dave’s sax Instrumentals and Ian’s piano breaks. And Dick’s guitar licks. I love it all. If we don’t like it and enjoy playing it, it doesn’t go in the set.
BJR. Thinking about the Rock n Roll scene today versus the time when you first got into it. How different is it, be it positive or negative or a bit of both.
BP. A bit of both really. I love the whole spectrum of Rocking music. When I started, there was no differences between all of rocking music. Whether it was Johnny Carol, Smiley Lewis. Bill Haley. It’s all Rock n Roll to me.
I don’t like going to a Rock and Roll night to find it’s a Country and Western band there.
But that doesn’t mean I don’t like Country and Western. Some of the B sides of Sun Record are great. ‘Take and Give’ by Slim Rhodes for instance. Great as a slow song. If I went to a Country and western gig. I wouldn’t expect a band like ours.
One thing I hate is the Rocking up of POP music, just because it’s got a slap bass or wearing 50’s clothes, it doesn’t make it Rockin’ I do like songs that are more recently written for the Rocking scene. If they sound like they were written in the 50’s or the early Rocking part of the 60’s. And they are good of course. Just my opinion. I don’t want to start a war. Lol
BJR. For those who would like more information on the band, where can they contact you?
BP. We have a Rockhouse Facebook page.
You can Email. [email protected]
You can Phone me for information to book the band. O1787371131 or 07963210688
BJR Thank you Bob for this interview.
BP Thank you very much for asking me.
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Your hosts for the Hot Rock n Boogie weekender in 2020 are Neil and Claire Seabrook, of Boston Jive. Next year is the third event, and boasts an excellent line up.
Each year, there are different features to help improve the event, the venue and the experience for attendees. It's gonna be another good one folks! 
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Your host for Rockin' at the Retreat, is Eddie Gibbs. This I believe is his first event at the Northampton venue that Eddie has arranged. It's a well known venue locally, and one we are looking forward to seeing
He has the Devil’s Cut Combo and their own brand of early 50’s Rock n Roll and R&B, playing live, with Kelv’s Red Hot Rhythm supporting on the decks 
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Record reviews
FTM In The Groove Part One – Various Artists
CD review
From the Flat Top Mark record label, Mark Phillips presents ‘In The Groove’ Part One, which would suggest that there’s a ‘part two’ and onward (he suggests as they are all in the Bettajive Review stack to be reviewed). Thirty one tracks on this one, all from vinyl, onto one mighty fine compilation.
A quick scan of the play list, and it’s varied for sure, right from the ‘Peter Gunn’ sounding ‘Snatch The Gun’, which you might want to avert your nan’s attention, during the Overdub Film Mix, cos it’s a bit x-rated. First vocal track, from Kingsize Taylor, who, with the Dominoes, were a British Rock n Roll band in the late ‘50’s, from Liverpool. Consequently, they were there at the start of the beat movement. ‘Money’ featured here, has a foot in both camps.
Raymond Leslie Howard, aka Duffy Power, from the Larry Parnes stable next, with ‘If I Get Lucky Someday’, which was a self penned track on the flip of the Parlophone 45 from 1963, which had Gerschwin’s ‘It Ain’t Necessarily So’ on the A. Decent stroll beat this one. More stroll rhythms follow, with Wanda Jackson, and ‘Whirlpool’. Don’t confuse this with the Billy Walker song of the same name, this one comes from the flip of the single ‘Funnel of Love’ in latter day releases or as the ‘A’ side on the Capitol 45 from ‘62.
Travis Wammack’s incredible guitar playing is next with ‘Firefly 2010’. Difficult to categorise this 1964 instrumental corker from a guitarist that was once touted as the fastest, other than brilliant. The Trippers, I didn’t know much about, and here they are with their version of ‘Keep a’ Knockin’ from 1966, with the Easybeats from Australia, following with ‘She’s so Fine’ from ’65.
There’s frantic vocals from Gino Parks on his Tamala cut from 1961, ‘Samething’, before we get some true class. John Lee Hooker, takes on ‘Money’. His version, has the classic Hooker guitar riff throughout, unmistakable and stylish, the Boogie Man presents a cool take on Berry Gordy Jr’s composition. From blues and boogie to Zydeco music, and Clifton Chenier’s accordion driven ‘Hotrod’. This has influences from Cajun and Creole music, from an artist, once declared as the King of Zydeco. Cool vibe this one, readers.
I tell you what readers, hearing ‘I Ain’t Never’ from Ricky Allen, immediately put me us in mind of Sam Cooke, with his vocal style. This track could have been recorded at any time between ‘50 and when it actually was, in ’66. Excellent stroll beat. It’s the Man in Black next, with a Powerhouse Mix, the basis of which is ‘Big River’, and frequent overdubbed cheers, and John introducing himself. Love it.
It’s weird and fulfilling in equal parts when a track from one of your favourite artists comes up, that you’ve not heard of before. This is the case with Fats Domino’s ‘If You Don’t Know What Love Is’. This cut is from his 1964 Paramount single, and has part in the R&B and part in the Soul camp. Whatever, it’s a cracking track that should grace many a dancefloor, whatever tickles your pickle.
There are two tracks from Eddie Holland on this release, ‘Just a Few More Days’ on Motown and the excellent ‘Everybody’s Going’ from 1959 on UA. He was a member of the prolific Holland-Dozier-Holland song writing team, and also had a voice very similar to Jackie Wilson. Great choices for inclusion here.
Something to stir the soul in you follows, with Joe Simon’s ‘I Gotta Whole Lotta Loving’, from 1970, which to many of us of my ‘vintage’ was a few years ago(!). This you can categorise in the ‘Soul/Funk’ genre. The wonderfully named Bent Forcep and the Patients, are up next with ‘What Happened to Baby Jane’, a vocal and musical curio, beyond which, I know nothing 😊
For those who have become a bit jaded with Trini Lopez’s ‘Sinner not a Saint’, here’s an alternative, with ‘If’ (not succeeded by the words ‘I had a Hammer’ fortunately), again a track that has a hop on a variety of dancefloors. Roosevelt Grier, for American Football fans (like me), immediately puts us in mind of his stints with the New York Giants and LA Rams. Here in this 1963 tune ‘Lover Set Me Free’ he showcases a fine set of vocal chords as well, in a song that is the antithesis of the aggressive nature of his Defensive Tackle position on the gridiron.
Joe Hinton’s ‘You’re My Girl’ is a further new one on me from 1964, another soul sounding track. Many of today’s groups are now taking on ‘Secret Agent Man’. Here it is, not by Johnny Rivers, but Mel Torme, a version that also appears on a FTM 45. Another classic tune next, with Lee Dresser, and the now established dancefloor winner, ‘El Camino Real’, and here’s a live version for you.
From ‘Fun in Acapulco’, it’s the Guv’ner, with ‘I Think I’m Gonna Like it Here’, soaked in Mexican beats and trumpets, which by default, we all love! You could lose count at the number of artists that have covered ‘Hi Lili Hi Lo’. The song was originally recorded by Dinah Shore in 1952, and in the 1953 film ‘Lili’, performed by Leslie Caron (and a couple of puppets). Here we have a baritone version by James Ricks from 1961, with a big band sound backing him to really good effect.
‘Cowbell Boogie’ by Fred Jackson, is an instrumental oddity from 1961. Jackson was a jazz man originally playing with Little Richard, being a saxophonist, I’m not sure if there’s a ‘cowbellofonist’ position in a band. Catchy ditty this one. Similarly the Buena Vistas’ ‘Soul sounding ‘Boss Sauce’ instro from ‘66/’67.
A real barn burner of an instrumental track follows, ‘The Mister Custer Stomp’, from ‘62 with some seriously excellent guitar twang, based around Custer’s escapades I’d suggest. It has a Garage feel to it with a rousing beat and yells, and I note that subsequent releases have been on the ‘Bighorn’ label…..Another ballsy instrumental ‘Stomp City Beat, by the Impacts, has the potential to fill many a floor with strollers. I’ll be honest readers, I know zip about this tune and it’s origins, but I’m glad I’ve heard it.
Clarence ‘Frogman’ Henry, delighted audiences with his genial persona, and super shows in the UK for many years. Here he is, in 1962, with a dance delight ‘Come on and Dance’. To top off, ‘That’s All’ by Al Garris, again with a foot in the R&B and Soul camp.
Cripes readers, thirty-one tracks, that when you put the CD in the player, is like a shuffle of styles you know you like, with tracks you might not have heard before. There’s something for everyone on this, it’s not out and out Rockabilly, or Soul, or R&B or Country or whatever. This is a well-conceived blend of ‘grooves’ put together by Flat Top Mark
Super stuff!
CD review
From the Flat Top Mark record label, Mark Phillips presents ‘In The Groove’ Part One, which would suggest that there’s a ‘part two’ and onward (he suggests as they are all in the Bettajive Review stack to be reviewed). Thirty one tracks on this one, all from vinyl, onto one mighty fine compilation.
A quick scan of the play list, and it’s varied for sure, right from the ‘Peter Gunn’ sounding ‘Snatch The Gun’, which you might want to avert your nan’s attention, during the Overdub Film Mix, cos it’s a bit x-rated. First vocal track, from Kingsize Taylor, who, with the Dominoes, were a British Rock n Roll band in the late ‘50’s, from Liverpool. Consequently, they were there at the start of the beat movement. ‘Money’ featured here, has a foot in both camps.
Raymond Leslie Howard, aka Duffy Power, from the Larry Parnes stable next, with ‘If I Get Lucky Someday’, which was a self penned track on the flip of the Parlophone 45 from 1963, which had Gerschwin’s ‘It Ain’t Necessarily So’ on the A. Decent stroll beat this one. More stroll rhythms follow, with Wanda Jackson, and ‘Whirlpool’. Don’t confuse this with the Billy Walker song of the same name, this one comes from the flip of the single ‘Funnel of Love’ in latter day releases or as the ‘A’ side on the Capitol 45 from ‘62.
Travis Wammack’s incredible guitar playing is next with ‘Firefly 2010’. Difficult to categorise this 1964 instrumental corker from a guitarist that was once touted as the fastest, other than brilliant. The Trippers, I didn’t know much about, and here they are with their version of ‘Keep a’ Knockin’ from 1966, with the Easybeats from Australia, following with ‘She’s so Fine’ from ’65.
There’s frantic vocals from Gino Parks on his Tamala cut from 1961, ‘Samething’, before we get some true class. John Lee Hooker, takes on ‘Money’. His version, has the classic Hooker guitar riff throughout, unmistakable and stylish, the Boogie Man presents a cool take on Berry Gordy Jr’s composition. From blues and boogie to Zydeco music, and Clifton Chenier’s accordion driven ‘Hotrod’. This has influences from Cajun and Creole music, from an artist, once declared as the King of Zydeco. Cool vibe this one, readers.
I tell you what readers, hearing ‘I Ain’t Never’ from Ricky Allen, immediately put me us in mind of Sam Cooke, with his vocal style. This track could have been recorded at any time between ‘50 and when it actually was, in ’66. Excellent stroll beat. It’s the Man in Black next, with a Powerhouse Mix, the basis of which is ‘Big River’, and frequent overdubbed cheers, and John introducing himself. Love it.
It’s weird and fulfilling in equal parts when a track from one of your favourite artists comes up, that you’ve not heard of before. This is the case with Fats Domino’s ‘If You Don’t Know What Love Is’. This cut is from his 1964 Paramount single, and has part in the R&B and part in the Soul camp. Whatever, it’s a cracking track that should grace many a dancefloor, whatever tickles your pickle.
There are two tracks from Eddie Holland on this release, ‘Just a Few More Days’ on Motown and the excellent ‘Everybody’s Going’ from 1959 on UA. He was a member of the prolific Holland-Dozier-Holland song writing team, and also had a voice very similar to Jackie Wilson. Great choices for inclusion here.
Something to stir the soul in you follows, with Joe Simon’s ‘I Gotta Whole Lotta Loving’, from 1970, which to many of us of my ‘vintage’ was a few years ago(!). This you can categorise in the ‘Soul/Funk’ genre. The wonderfully named Bent Forcep and the Patients, are up next with ‘What Happened to Baby Jane’, a vocal and musical curio, beyond which, I know nothing 😊
For those who have become a bit jaded with Trini Lopez’s ‘Sinner not a Saint’, here’s an alternative, with ‘If’ (not succeeded by the words ‘I had a Hammer’ fortunately), again a track that has a hop on a variety of dancefloors. Roosevelt Grier, for American Football fans (like me), immediately puts us in mind of his stints with the New York Giants and LA Rams. Here in this 1963 tune ‘Lover Set Me Free’ he showcases a fine set of vocal chords as well, in a song that is the antithesis of the aggressive nature of his Defensive Tackle position on the gridiron.
Joe Hinton’s ‘You’re My Girl’ is a further new one on me from 1964, another soul sounding track. Many of today’s groups are now taking on ‘Secret Agent Man’. Here it is, not by Johnny Rivers, but Mel Torme, a version that also appears on a FTM 45. Another classic tune next, with Lee Dresser, and the now established dancefloor winner, ‘El Camino Real’, and here’s a live version for you.
From ‘Fun in Acapulco’, it’s the Guv’ner, with ‘I Think I’m Gonna Like it Here’, soaked in Mexican beats and trumpets, which by default, we all love! You could lose count at the number of artists that have covered ‘Hi Lili Hi Lo’. The song was originally recorded by Dinah Shore in 1952, and in the 1953 film ‘Lili’, performed by Leslie Caron (and a couple of puppets). Here we have a baritone version by James Ricks from 1961, with a big band sound backing him to really good effect.
‘Cowbell Boogie’ by Fred Jackson, is an instrumental oddity from 1961. Jackson was a jazz man originally playing with Little Richard, being a saxophonist, I’m not sure if there’s a ‘cowbellofonist’ position in a band. Catchy ditty this one. Similarly the Buena Vistas’ ‘Soul sounding ‘Boss Sauce’ instro from ‘66/’67.
A real barn burner of an instrumental track follows, ‘The Mister Custer Stomp’, from ‘62 with some seriously excellent guitar twang, based around Custer’s escapades I’d suggest. It has a Garage feel to it with a rousing beat and yells, and I note that subsequent releases have been on the ‘Bighorn’ label…..Another ballsy instrumental ‘Stomp City Beat, by the Impacts, has the potential to fill many a floor with strollers. I’ll be honest readers, I know zip about this tune and it’s origins, but I’m glad I’ve heard it.
Clarence ‘Frogman’ Henry, delighted audiences with his genial persona, and super shows in the UK for many years. Here he is, in 1962, with a dance delight ‘Come on and Dance’. To top off, ‘That’s All’ by Al Garris, again with a foot in the R&B and Soul camp.
Cripes readers, thirty-one tracks, that when you put the CD in the player, is like a shuffle of styles you know you like, with tracks you might not have heard before. There’s something for everyone on this, it’s not out and out Rockabilly, or Soul, or R&B or Country or whatever. This is a well-conceived blend of ‘grooves’ put together by Flat Top Mark
Super stuff!
Retrograde – Bamboozle
CD review
I shouldn’t really start a review with ‘at last’, but I will. We’ve seen Bamboozle on a number of occasions live, and appreciated their EP releases, but a full LP is what many who’d seen the Bass Pixie and the lads play, wanted.
The Bass Pixie? That’s Serena Sykes, vocalist, songwriter and energetic bass player, and she’s joined by Jim Knowler and Les Curtis. Jim, is the lead guitarist, as well writing songs and taking vocals from time to time, while the rhythm is driven along by drummer Les.
To the tracks, and all but two are originals by the band. The opener is a catchy, jazzy romp called ‘Five Past Ten’, with Serena on vocals, joyously delivering lyrics about wanting to sleep in ‘til noon. Next up, ‘The Lowdown’ thumping Telecaster driven rocker, with Jim on lead vocals with Serena harmonising. This is under two minutes long, however has the type of beat that dancers will just love, and has a vibe straight out of 1959.
Some bopping beats now with a call and answer rocker from Serena, ‘Rockin’ Man’ which cleverly utilises, loud and quiet delivery both vocally and musically. ‘Heebie Jeebies’ isn’t a cover tune, it’s a swinging original composition, with exceptional guitar picking from Jim and an infectious bassline throughout. ‘The Hall is packed from front to back’ is the opening line, it certainly will be when this gets played readers.
A track Bamboozle fans will already be familiar with ‘Ice Cold Beer’. This is another cut that demonstrates the versatility of the band with a Western Swing twang to the music and vocals, as vocalist Jim pays tribute to his ‘lady’. A ‘sweet combination of love and rehydration’ he says, contender for best line on the CD. From being familiar with Jim’s previous work ‘Just Like You’, has his vocal and performing stamp all over it, from the ‘do do wahs’ that make up the backing vocals, through his inimitable guitar style. Super cool track this one, readers.
Serena takes the vocals next on the sinister sounding ‘Toxic Nightmare’, which is a less than complementary recitation about one half in a relationship. This is a tense and edgy rocker, and another different style that the band showcase throughout this release. ‘Daddy’s Girl’ was on the flip to ‘Mayhem’ on the single of a while ago. Loving the Rockabilly vibe on this one, along with the harmony vocals.
The CD concludes with two cover tracks. The first, ‘Fever’ is the Eddie Cooley & Otis Blackwell (as John Davenport) collaboration that was originally recorded by Little Willie John for his debut album in ’56. The most widely known version is probably Peggy Lee’s 1958, sultry and atmospheric rendition, with the lyrics altered from the original. Here, Serena takes the bass and gives it some ‘tick’ and a bit more haste, to good effect.
The final track was recorded live. Imelda May’s ‘Mayhem’ from her third studio album of the same name, is given the Bamboozle treatment, and sounds ace in front of an audience. If anything, it ends rather abruptly, I’d have liked to have heard the cheers, which would have undoubtedly rang out after such a version.
This is a debut that doesn’t disappoint readers. The input from the three musicians is such that you could be fooled into thinking there are a lot more in the band. Sure, there’s contributions from Dave Kirk and Keith Wilkinson, but take nothing away from the quality of the trio.
Ten tracks that get ten out of ten
CD review
I shouldn’t really start a review with ‘at last’, but I will. We’ve seen Bamboozle on a number of occasions live, and appreciated their EP releases, but a full LP is what many who’d seen the Bass Pixie and the lads play, wanted.
The Bass Pixie? That’s Serena Sykes, vocalist, songwriter and energetic bass player, and she’s joined by Jim Knowler and Les Curtis. Jim, is the lead guitarist, as well writing songs and taking vocals from time to time, while the rhythm is driven along by drummer Les.
To the tracks, and all but two are originals by the band. The opener is a catchy, jazzy romp called ‘Five Past Ten’, with Serena on vocals, joyously delivering lyrics about wanting to sleep in ‘til noon. Next up, ‘The Lowdown’ thumping Telecaster driven rocker, with Jim on lead vocals with Serena harmonising. This is under two minutes long, however has the type of beat that dancers will just love, and has a vibe straight out of 1959.
Some bopping beats now with a call and answer rocker from Serena, ‘Rockin’ Man’ which cleverly utilises, loud and quiet delivery both vocally and musically. ‘Heebie Jeebies’ isn’t a cover tune, it’s a swinging original composition, with exceptional guitar picking from Jim and an infectious bassline throughout. ‘The Hall is packed from front to back’ is the opening line, it certainly will be when this gets played readers.
A track Bamboozle fans will already be familiar with ‘Ice Cold Beer’. This is another cut that demonstrates the versatility of the band with a Western Swing twang to the music and vocals, as vocalist Jim pays tribute to his ‘lady’. A ‘sweet combination of love and rehydration’ he says, contender for best line on the CD. From being familiar with Jim’s previous work ‘Just Like You’, has his vocal and performing stamp all over it, from the ‘do do wahs’ that make up the backing vocals, through his inimitable guitar style. Super cool track this one, readers.
Serena takes the vocals next on the sinister sounding ‘Toxic Nightmare’, which is a less than complementary recitation about one half in a relationship. This is a tense and edgy rocker, and another different style that the band showcase throughout this release. ‘Daddy’s Girl’ was on the flip to ‘Mayhem’ on the single of a while ago. Loving the Rockabilly vibe on this one, along with the harmony vocals.
The CD concludes with two cover tracks. The first, ‘Fever’ is the Eddie Cooley & Otis Blackwell (as John Davenport) collaboration that was originally recorded by Little Willie John for his debut album in ’56. The most widely known version is probably Peggy Lee’s 1958, sultry and atmospheric rendition, with the lyrics altered from the original. Here, Serena takes the bass and gives it some ‘tick’ and a bit more haste, to good effect.
The final track was recorded live. Imelda May’s ‘Mayhem’ from her third studio album of the same name, is given the Bamboozle treatment, and sounds ace in front of an audience. If anything, it ends rather abruptly, I’d have liked to have heard the cheers, which would have undoubtedly rang out after such a version.
This is a debut that doesn’t disappoint readers. The input from the three musicians is such that you could be fooled into thinking there are a lot more in the band. Sure, there’s contributions from Dave Kirk and Keith Wilkinson, but take nothing away from the quality of the trio.
Ten tracks that get ten out of ten
Swingin’ Rhymes and Skylines – The Empires
CD review
Four stylish guys, with some serious musical pedigree, form the Empires. Their new CD release Swingin’ Rhymes and Skylines, is a classy mix of vocal harmonies, jumping rhythms and toe tapping timbres. They are made of Alan O'Donnell on lead vocal and double bass
Mick Colley, backing vocals, drums & percussion, John O'Malley providing backing vocals and lead guitar, with Pete Cook on backing vocals and saxophone.
They start with a track originally by Dean Martin, ‘Innamorata’ which featured in the Dean Martin and Jerry Lewis 1955 film, ‘Artists and Models’. Meaning ‘in love’, it was initially a ‘croon’, but the Empires have hopped it up to make a smooth swing track. Next up, a straight ahead jive classic, ‘Jackpot’, originally by the Mike Pedicin Quintet, and what a peach it is, doing justice to the original.
‘Exactly Like You’, dates back to 1930, written by Jimmy McHugh and Dorothy Fields, and performed by a myriad of artists over the years, from Louis Armstrong, to Bing Crosby and Diana Krall. Cool guitar solo on this mid-tempo beauty. Frankie Avalon’s slowy ‘Venus’ from 1959, is revised by the Empires, and has been injected with a shot of jumping pulse that lifts it to dancefloor winner. Another of that ilk would be ‘Where You At’, which I’ll be honest I know nothing about, but I’m sure glad to do so now.
A couple of well established dance hall tunes now with the King Brothers’ 1958 cut on Parlaphone Records ‘6-5 Jive’ and Billy Williams ‘Pied Piper’ from ’57 on Coral. Both these are proven DJ must haves in their original forms, and these versions will stand shoulder to shoulder with them. Time for a big time artist, Charlie Rich, and one of his lesser played tracks, ‘That’s How Much I Love You’, and it’s jazzy lilt, reproduced with considerable accomplishment by the Empires. It suits their style down to the ground.
Another interesting reworking of an old song follows, with ‘I Cover The Waterfront’. If you listen to the versions by the Ink Spots, Little Anthony and the Imperials, or Billie Holiday, it’s quite a slow ballad. Louis Armstrong’s is a bit more jazzy in beat. The Empires take it and change it to a bouncy delight.
Teen idol Fabian, recorded ‘You Know You Belong To Somebody Else’ on Chancellor in 1960, and these guys give it that bit of extra vocal harmony, making it fit perfectly with their modus operandi. Time for a real rocker now, with a top jive tune from 1956, Bob Spencer’s ‘Rock n Roll Lullaby’ (don’t confuse it with 10cc’s ‘70’s song readers!). This is up there with the best on the CD, close to the original, and adeptly presented musically and vocally.
To top off an excellent release, Buddy Greco’s 1960 swinging rocker, ‘Around the World’, the tagline of which being ‘I like it, I like it’, and it’s very true. Musically proficient, with vocal harmonies, a varied play list in a style of jazz meets rhythm and blues with more than a nod to Rock n Roll and tinged with doo wop.
What’s not to like? Top drawer
CD review
Four stylish guys, with some serious musical pedigree, form the Empires. Their new CD release Swingin’ Rhymes and Skylines, is a classy mix of vocal harmonies, jumping rhythms and toe tapping timbres. They are made of Alan O'Donnell on lead vocal and double bass
Mick Colley, backing vocals, drums & percussion, John O'Malley providing backing vocals and lead guitar, with Pete Cook on backing vocals and saxophone.
They start with a track originally by Dean Martin, ‘Innamorata’ which featured in the Dean Martin and Jerry Lewis 1955 film, ‘Artists and Models’. Meaning ‘in love’, it was initially a ‘croon’, but the Empires have hopped it up to make a smooth swing track. Next up, a straight ahead jive classic, ‘Jackpot’, originally by the Mike Pedicin Quintet, and what a peach it is, doing justice to the original.
‘Exactly Like You’, dates back to 1930, written by Jimmy McHugh and Dorothy Fields, and performed by a myriad of artists over the years, from Louis Armstrong, to Bing Crosby and Diana Krall. Cool guitar solo on this mid-tempo beauty. Frankie Avalon’s slowy ‘Venus’ from 1959, is revised by the Empires, and has been injected with a shot of jumping pulse that lifts it to dancefloor winner. Another of that ilk would be ‘Where You At’, which I’ll be honest I know nothing about, but I’m sure glad to do so now.
A couple of well established dance hall tunes now with the King Brothers’ 1958 cut on Parlaphone Records ‘6-5 Jive’ and Billy Williams ‘Pied Piper’ from ’57 on Coral. Both these are proven DJ must haves in their original forms, and these versions will stand shoulder to shoulder with them. Time for a big time artist, Charlie Rich, and one of his lesser played tracks, ‘That’s How Much I Love You’, and it’s jazzy lilt, reproduced with considerable accomplishment by the Empires. It suits their style down to the ground.
Another interesting reworking of an old song follows, with ‘I Cover The Waterfront’. If you listen to the versions by the Ink Spots, Little Anthony and the Imperials, or Billie Holiday, it’s quite a slow ballad. Louis Armstrong’s is a bit more jazzy in beat. The Empires take it and change it to a bouncy delight.
Teen idol Fabian, recorded ‘You Know You Belong To Somebody Else’ on Chancellor in 1960, and these guys give it that bit of extra vocal harmony, making it fit perfectly with their modus operandi. Time for a real rocker now, with a top jive tune from 1956, Bob Spencer’s ‘Rock n Roll Lullaby’ (don’t confuse it with 10cc’s ‘70’s song readers!). This is up there with the best on the CD, close to the original, and adeptly presented musically and vocally.
To top off an excellent release, Buddy Greco’s 1960 swinging rocker, ‘Around the World’, the tagline of which being ‘I like it, I like it’, and it’s very true. Musically proficient, with vocal harmonies, a varied play list in a style of jazz meets rhythm and blues with more than a nod to Rock n Roll and tinged with doo wop.
What’s not to like? Top drawer
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Jealous Guy / Sunshine Superman – Mouse Zinn / Darrel Higham
45rpm Vinyl He’s done it again, that Flat Top Mark, presenting a bill-topping 45rpm where two of today’s big hitters take on a belting 7” vinyl 45rpm. Mouse Zinn, takes on John Lennon’s ‘Jealous Guy’, originally recorded by the composer in 1971, and reworked by Roxy Music in 1981. This version by Mouse was recorded in 2016 at Embassy Studios. It has a cool rockabilly vibe, although pays suitable reverence to the subject matter of the lyrics and the original score. It’s a well crafted version readers. On the flip side of the 45, Darrel Higham’s 2003 recording of Donovan’s ‘Sunshine Superman’. Written by Donovan Leitch, and recorded by the composer in 1966, the original was a forerunner in psychedelic pop movement. This version dispenses with the tambura and harpsicord (!), relying on the classic Rockabilly sound driven along by a thump-ticking bassline. The lyrics remain the same, and if you can make head nor tail out of them, good luck, but in reality they are incidental to the super cool music. Two top drawer tracks, both good for the dance floor, and expertly remixed by Flat Top Mark himself. There’s a limited pressing of 270, so don’t hang about © Andrew Smith, June Smith, The Bettajive Review August 2019 |
See Darrel Higham at this fine event in October. Yes it is where the darts is held :)
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Your hosts for the Rhythm Riot are Robin and Colette Weathersebee. They’ve run the Riot (with Jerry Chatabox) since it first started twenty two years ago. As well as running Maddy’s Jive School, they are also joint promoters of the Atomic Vintage Festival (see issue #1 for a review)
Latest update for the Riot came at the weekend just gone, when Colette suggested we remind people that the cheapest (Riot) wristband price lasts until 13th October, in case anyone hasn’t got around to booking yet. It’s selling very well folks, don’t miss out 
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Your host for the Rockabilly Rave, is Jerry Chatabox, pictured here with Mary Ann. Next year, 2020, marks the 24th year of Europe’s, if not the world’s premier Rockabilly Festival. Next year sees for one event only, the Bellfuries will be performing at. Yes readers, they are reforming just for the Rockabilly Rave.
This isn't quite the finished article folks, there's more to come. Keep checking back readers
This isn't quite the finished article folks, there's more to come. Keep checking back readers
rock ridge rumble
Ashley Dixon of Ashley's Midnite Blues
Relentless
Rock Ridge Rumble #7
Reet marra! It’s that time of the year again, for the seventh one running, get yourself up to the North East and to the Rock Ridge Rumble event. With the festival being the weekend after the Atomic, surely, we hoped, for once that event would get some sunshine. During the week, following the preceding event on the same site, there had been a considerable dollop of rain to churn the field up, but it had recovered well.
The Rumble, has for it’s existence, followed the week after the Country music festival, Rock Ridge Round-Up. The marquee is left in place, and some tweaks to the interior made to cater for the Rock n Roll brigade. Both are owned and run by Kevin Greener and Tracey Hobbs, who are pro-active all weekend in the venue.
Both the events are held ‘in a field’ on Burdon Plain, which is opposite the Tanfield Railway, which it’s claimed is the world’s oldest. The history and experience of this site is one that many Rumble attendees take in on their visits.
The large aspect of the field, allows for camping, on many different scales. The large bungalow-on-wheels through the tow along caravans, down to the one/two man bivvy, all are accommodated for. Us? We camp in a local hotel……
Never ones to take any notice of sat-nav timings, the ‘4hr 38min’ drive (HA!) which took over six, saw us arrive in time for the first acts on, and in this case it was, Relentless, a trio from Lincolnshire. Anthony Smith on lead guitar, Peter O'brien on bass and Luke Fletcher on drums make up tis enthusiastic trio, that aren’t short on pace or volume, all but exploding as they did with Jerry Lee Lewis’ ‘I’m on Fire’ and Billy Lee Riley’s ‘Red Hot’.
The vocals are shared between Peter and Anthony, most of the audience ‘engagement’ by Peter. The third successive pyro based song ‘I’m On Fire’, this time the Bruce Springsteen song of that name, got the Relentless treatment, I suppose reminiscent of the Guana Batz version. A couple of classic Rockabilly numbers next with ‘Right String Wrong YoYo’ and Eddie’s ‘Jelly Bean’ before one of the band’s clear influences, the Stray Cats ‘Runaway Boys’.
There was a slow down and indeed a switch of gears completely as they took on Bob Marley’s ‘Three Little Birds’ (yes you read that correctly) and the stroll beat of ‘Red Cadillac and a Black Moustache’. Also some Elvis tunes, ‘Love Me’, ‘One Night’ and the set sign off ‘Burning Love’. The encore, another loud and proud tune, Bo’s ‘You Don’t Love Me’, topped off a full speed start to the Rumble.
Click on images for full sized pics
Reet marra! It’s that time of the year again, for the seventh one running, get yourself up to the North East and to the Rock Ridge Rumble event. With the festival being the weekend after the Atomic, surely, we hoped, for once that event would get some sunshine. During the week, following the preceding event on the same site, there had been a considerable dollop of rain to churn the field up, but it had recovered well.
The Rumble, has for it’s existence, followed the week after the Country music festival, Rock Ridge Round-Up. The marquee is left in place, and some tweaks to the interior made to cater for the Rock n Roll brigade. Both are owned and run by Kevin Greener and Tracey Hobbs, who are pro-active all weekend in the venue.
Both the events are held ‘in a field’ on Burdon Plain, which is opposite the Tanfield Railway, which it’s claimed is the world’s oldest. The history and experience of this site is one that many Rumble attendees take in on their visits.
The large aspect of the field, allows for camping, on many different scales. The large bungalow-on-wheels through the tow along caravans, down to the one/two man bivvy, all are accommodated for. Us? We camp in a local hotel……
Never ones to take any notice of sat-nav timings, the ‘4hr 38min’ drive (HA!) which took over six, saw us arrive in time for the first acts on, and in this case it was, Relentless, a trio from Lincolnshire. Anthony Smith on lead guitar, Peter O'brien on bass and Luke Fletcher on drums make up tis enthusiastic trio, that aren’t short on pace or volume, all but exploding as they did with Jerry Lee Lewis’ ‘I’m on Fire’ and Billy Lee Riley’s ‘Red Hot’.
The vocals are shared between Peter and Anthony, most of the audience ‘engagement’ by Peter. The third successive pyro based song ‘I’m On Fire’, this time the Bruce Springsteen song of that name, got the Relentless treatment, I suppose reminiscent of the Guana Batz version. A couple of classic Rockabilly numbers next with ‘Right String Wrong YoYo’ and Eddie’s ‘Jelly Bean’ before one of the band’s clear influences, the Stray Cats ‘Runaway Boys’.
There was a slow down and indeed a switch of gears completely as they took on Bob Marley’s ‘Three Little Birds’ (yes you read that correctly) and the stroll beat of ‘Red Cadillac and a Black Moustache’. Also some Elvis tunes, ‘Love Me’, ‘One Night’ and the set sign off ‘Burning Love’. The encore, another loud and proud tune, Bo’s ‘You Don’t Love Me’, topped off a full speed start to the Rumble.
Click on images for full sized pics
Drugstore Cowboys
Next on, the Drugstore Cowboys looking a little different line-up wise than usual, but still with Nick Whitfield at the helm, hitting the high spots on the Fender Telecaster. It’s pretty much a gimmie that you’ll get a solid and varied set of tunes from the Cowboys, and here was no exception.
An example would be the copy of Tony Joe White’s ‘Saturday Nite in Oak Grove Louisiana’. Most of our introductions to Tony Joe White would’ve most likely been through ‘Polk Salad Annie’ I suspect. This track was recorded by Tony Joe White, around five years after, and Nick Whitfield has taken it and made a super job of presenting it in Drugstore Cowboy style. Similarly, the Everly Brothers’ 1961 Warner Brothers single, ‘Muskrat’, presented as a powerhouse version here.
‘Have Love Will Travel’, and Elvis’ Guitar Man’ featured as did Big Bopper’s penned ‘White Lightning’. And to finish off, the regular finale of ‘Rhinestone Cowboy’, reworked and dare I suggest, tailored to the current day market as ‘Drugstore Cowboy’, with references to Facebook and various, unwanted friend requests and body part photographs. Cool beans
An example would be the copy of Tony Joe White’s ‘Saturday Nite in Oak Grove Louisiana’. Most of our introductions to Tony Joe White would’ve most likely been through ‘Polk Salad Annie’ I suspect. This track was recorded by Tony Joe White, around five years after, and Nick Whitfield has taken it and made a super job of presenting it in Drugstore Cowboy style. Similarly, the Everly Brothers’ 1961 Warner Brothers single, ‘Muskrat’, presented as a powerhouse version here.
‘Have Love Will Travel’, and Elvis’ Guitar Man’ featured as did Big Bopper’s penned ‘White Lightning’. And to finish off, the regular finale of ‘Rhinestone Cowboy’, reworked and dare I suggest, tailored to the current day market as ‘Drugstore Cowboy’, with references to Facebook and various, unwanted friend requests and body part photographs. Cool beans
Finally, and for many, a bit of nostalgia for many of us of a certain age (sic), in the shape of Johnny and the Jailbirds. This band were among the front runners of the ‘revival’ of the late 70’s early 80’s, with Johnny Red co-opting musicians from Northamptonshire (wasn’t there another trio from that area? Wonder what they’re up to now….. 😊 ) where he’d relocated to from London.
This was a band that had that little bit extra back then, giving them a slightly higher national profile than corners and backrooms of smoky pubs (different times kids). They were slick and professional for the seven years that they originally performed, before calling it a day, until reforming in the early noughties. Now in the last year of the nought-teens, they were on the Rumble stage. Sure the personnel has changed, indeed I may have a couple of years on some of the Jailbirds, but the spark is still there, with Johnny Red commanding in his red and cream Hollywood jacket.
Even those younger than me would have felt some kind of nostalgia tug, as the now dance floor classic ‘Roll on Clickety Clack’ is nearly twenty years old. But you had to wait for it, there was loads before that readers, mixing up the old with the new(er) tunes. That Charly Records 1980 album ‘Out on Bail’ (cripes that came out on cassette as well!), yielded the likes of ‘Oklahoma Baby’, ‘Too Much Wine’ and of course their best known track from my youth, ‘Eileen’. This was very late in the set, and I’d guess that it was one of the eagerly awaited tunes.
I don’t think they’d have been allowed to exit the stage without ‘Roll On Clickety Clack’, and that was the climax of the set. A trip down memory lane for around 75% of the crowd to top off Friday night.
This was a band that had that little bit extra back then, giving them a slightly higher national profile than corners and backrooms of smoky pubs (different times kids). They were slick and professional for the seven years that they originally performed, before calling it a day, until reforming in the early noughties. Now in the last year of the nought-teens, they were on the Rumble stage. Sure the personnel has changed, indeed I may have a couple of years on some of the Jailbirds, but the spark is still there, with Johnny Red commanding in his red and cream Hollywood jacket.
Even those younger than me would have felt some kind of nostalgia tug, as the now dance floor classic ‘Roll on Clickety Clack’ is nearly twenty years old. But you had to wait for it, there was loads before that readers, mixing up the old with the new(er) tunes. That Charly Records 1980 album ‘Out on Bail’ (cripes that came out on cassette as well!), yielded the likes of ‘Oklahoma Baby’, ‘Too Much Wine’ and of course their best known track from my youth, ‘Eileen’. This was very late in the set, and I’d guess that it was one of the eagerly awaited tunes.
I don’t think they’d have been allowed to exit the stage without ‘Roll On Clickety Clack’, and that was the climax of the set. A trip down memory lane for around 75% of the crowd to top off Friday night.
The Scorchers
A couple of Rumbles ago, think it was 2016, if we can use that phrase, The Scorchers played an absolute blinder in the afternoon. Here they were back again, first band on Saturday afternoon. Ian and Gary Agar of the Infernos on lead guitar & vocals and drums respectively, are joined by Trev Magson on upright bass and Tim Richardson on rhythm guitar. And don’t go thinking this is the Infernos part deux, this is different and varied folks.
Although Ian Agar takes the main vocals, Tim Richardson joins on harmonies and duets, to really good effect. Firstly though a couple of cracking Rockabilly classics, ‘Everybody’s Trying to be my Baby’, and Wiley Barkdull’s ‘Ain’t Gonna Waste my Time’ whetted the collective appetites of the ever increasing numbers in the marquee. Carl Perkins’ ‘Tennessee’ gave them the idea of just how cool the vocals are delivered by the Scorchers. Another later Carl Perkins track, ‘Say When’ was first class, and the duet of Jimmy Lee and Wayne’s ‘Love Me’ was just sublime.
We recalled from the last outing for the Scorchers at the Rumble, their take on ‘Revenoor Man’ was the highlight of highlights, and indeed on hearing it again, it’s up there with the best song they performed. That and another beauty, Alton and Jimmy’s ‘No More Crying the Blues’, which ended the set. This band must be the North East closely guarded commodity, as we’ve only seen them on sorties up there. Excellent set.
Although Ian Agar takes the main vocals, Tim Richardson joins on harmonies and duets, to really good effect. Firstly though a couple of cracking Rockabilly classics, ‘Everybody’s Trying to be my Baby’, and Wiley Barkdull’s ‘Ain’t Gonna Waste my Time’ whetted the collective appetites of the ever increasing numbers in the marquee. Carl Perkins’ ‘Tennessee’ gave them the idea of just how cool the vocals are delivered by the Scorchers. Another later Carl Perkins track, ‘Say When’ was first class, and the duet of Jimmy Lee and Wayne’s ‘Love Me’ was just sublime.
We recalled from the last outing for the Scorchers at the Rumble, their take on ‘Revenoor Man’ was the highlight of highlights, and indeed on hearing it again, it’s up there with the best song they performed. That and another beauty, Alton and Jimmy’s ‘No More Crying the Blues’, which ended the set. This band must be the North East closely guarded commodity, as we’ve only seen them on sorties up there. Excellent set.
A switch to straight ahead Rock n Roll next, with the venerable Phil Haley and the Comments taking to the stage. If anyone didn’t know what to expect, music-wise, which I’d find hard to believe on sight of their red and black tartan jackets, then the first strains of ‘Shake Rattle and Roll’ should’ve set the stall out.
This band presents a show with more shine than a Mr Sheen factory (other brands of floor and furniture polish, are available. Although none of my beeswax, that’s my pledge anyway) with the Rudy Pompilli sax beauty, ‘Rudy’s Rock’, expertly presented by Allen Parrish, which morphs into the Franny Beecher frantic picker ‘Goofin Around’. Naturally much of the set was Bill Haley stuff, the likes of ‘Don’t Knock The Rock’ and ‘You Can’t Stop Me’ for example, but there’s their own material that vies for attention.
I doubt they’d get out of the building if they didn’t play ‘Talk To Me’, but I’m going to venture there’s a track that trumps that for quality. ‘Mary Ann Thomas’ has everything to make it a dancefloor winner, catchy rhythm, and a beat that makes you dance. Look out for it on their new record out in ‘six to eight weeks’, their words not mine. Similarly, ‘West Coast Swing’ does exactly what the title says, a beguiling mid-tempo jiver.
Back on the cover tracks, and bassist Martin takes the vocals on ‘Hide and Seek’ and ‘Rocking Chair on the Moon’, while ‘Birth of a Boogie’ brought Phil back on vocals, with Martin’s thumping bass rhythm driving it along. When you see the band again, check out drummer Gary Davidson’s ‘Red Hot Boogie’ too. Great Rock n Roll set, well what did you expect?
Click on the pics below for full size images
This band presents a show with more shine than a Mr Sheen factory (other brands of floor and furniture polish, are available. Although none of my beeswax, that’s my pledge anyway) with the Rudy Pompilli sax beauty, ‘Rudy’s Rock’, expertly presented by Allen Parrish, which morphs into the Franny Beecher frantic picker ‘Goofin Around’. Naturally much of the set was Bill Haley stuff, the likes of ‘Don’t Knock The Rock’ and ‘You Can’t Stop Me’ for example, but there’s their own material that vies for attention.
I doubt they’d get out of the building if they didn’t play ‘Talk To Me’, but I’m going to venture there’s a track that trumps that for quality. ‘Mary Ann Thomas’ has everything to make it a dancefloor winner, catchy rhythm, and a beat that makes you dance. Look out for it on their new record out in ‘six to eight weeks’, their words not mine. Similarly, ‘West Coast Swing’ does exactly what the title says, a beguiling mid-tempo jiver.
Back on the cover tracks, and bassist Martin takes the vocals on ‘Hide and Seek’ and ‘Rocking Chair on the Moon’, while ‘Birth of a Boogie’ brought Phil back on vocals, with Martin’s thumping bass rhythm driving it along. When you see the band again, check out drummer Gary Davidson’s ‘Red Hot Boogie’ too. Great Rock n Roll set, well what did you expect?
Click on the pics below for full size images
A decent crowd stuck around for The Honkabillies, who brought their own brand of rockin’ to the stage next. They are no longer Doggone, it would seem, although the personnel by and large has been consistent for a number of years now. Frankie Riedel snr on rhythm guitar and vocals is joined by Frankie Riedel Jnr on lead & steel guitar, Claire Gipps on drums and Rich Lyon on upright bass. Consistent too is the variety of sounds and eminence of the shows.
No nonsense Rockabilly to start with, Jack Earls’ ‘Crawdad Hole’ and some Johnny Cash with ‘So Doggone Lonesome’ and a smattering of Johnny Horton with ‘Cherokee Boogie’, and a strolling ‘One Woman Man’. Loved the version of the BR-549’s ‘Betty Betty’ with it’s bouncing beat, harmonies and steel guitar, with a touch of sauce in the lyrics, you can guess who it’s about folks. This is a treat you shouldn’t miss readers.
More Cash, with the tragically narcotic lament that is the embittered ‘Cocaine Blues’, with slightly adjusted lyrics for the young ears in the marquee, and ‘Get Rhythm’. Good also to hear their own song ‘Hot Rod’ before they closed the show with ‘Chicken and the Hawk’ and Hank’s ‘Hey Good Looking’. An extremely popular set, with them being called back for one of their signature tunes ‘Freight Train Boogie’. Top stuff folks!
Click on the pics for full sized images
No nonsense Rockabilly to start with, Jack Earls’ ‘Crawdad Hole’ and some Johnny Cash with ‘So Doggone Lonesome’ and a smattering of Johnny Horton with ‘Cherokee Boogie’, and a strolling ‘One Woman Man’. Loved the version of the BR-549’s ‘Betty Betty’ with it’s bouncing beat, harmonies and steel guitar, with a touch of sauce in the lyrics, you can guess who it’s about folks. This is a treat you shouldn’t miss readers.
More Cash, with the tragically narcotic lament that is the embittered ‘Cocaine Blues’, with slightly adjusted lyrics for the young ears in the marquee, and ‘Get Rhythm’. Good also to hear their own song ‘Hot Rod’ before they closed the show with ‘Chicken and the Hawk’ and Hank’s ‘Hey Good Looking’. An extremely popular set, with them being called back for one of their signature tunes ‘Freight Train Boogie’. Top stuff folks!
Click on the pics for full sized images
Mons Wheeler from Lurgan, County Armagh in Northern Ireland, has been making waves on the Rock n Roll circuit for a while now and his band, the Tone Kings from Scotland, Martin Barrett on lead guitar, Dave Cameron on drums and Alan McCubbin on bass, took the stage next. This was an eagerly awaited set by the Rumble crowd which included a good number of day visitors.
Some Roy Orbison to open with, a classic Sun label rocker ‘Rockhouse’, with it’s cool vibe, followed by a slightly more obscure tune from Marty Robbins, ‘Respectfully Miss Brooks’ from 1956. Songs like ‘Blue Days, Black Nights’ and ‘Knee Deep in the Blues’ are perfect for Mons’ vocal characteristics. ‘Cattle Call’ was first class, showcasing his range too, and fortunately on this occasion, the audience weren’t as keen to join in with the yodelling chorus, unlike another event we’d attended…… 😊
The Rampage Records 45rpm, ‘Down By The Bay’ is immensely popular around the circuit, but we’ve found it more so in the North, possibly due to the DJs up there getting copies early doors after it’s release. Cracking tune that one readers, as is the flip ‘Nothing But Pain’ which featured later in the show.
The opening bars of ‘Baby Did a Bad Bad Thing’ raised an eyebrow. From Chris Isaak’s ‘Forever Blue’ album of 1995, I don’t think I’ve heard anyone cover it before. Again, it’s a vocally wide-ranging song, perfectly recounted by Mons. Off set that angsty tune with the genteel Hank Williams ‘Kaw-Liga’, about the wooden Indian, who fell in love with the Indian maid over in the antique store, and the sing-along ‘GI Blues’.
An immensely popular and diverse set was crowned with Jimmy Wages’ ‘Miss Pearl’, and ‘Jump Jive and Wail’. Excellent musicianship and vocals from a band on grade A form.
Some Roy Orbison to open with, a classic Sun label rocker ‘Rockhouse’, with it’s cool vibe, followed by a slightly more obscure tune from Marty Robbins, ‘Respectfully Miss Brooks’ from 1956. Songs like ‘Blue Days, Black Nights’ and ‘Knee Deep in the Blues’ are perfect for Mons’ vocal characteristics. ‘Cattle Call’ was first class, showcasing his range too, and fortunately on this occasion, the audience weren’t as keen to join in with the yodelling chorus, unlike another event we’d attended…… 😊
The Rampage Records 45rpm, ‘Down By The Bay’ is immensely popular around the circuit, but we’ve found it more so in the North, possibly due to the DJs up there getting copies early doors after it’s release. Cracking tune that one readers, as is the flip ‘Nothing But Pain’ which featured later in the show.
The opening bars of ‘Baby Did a Bad Bad Thing’ raised an eyebrow. From Chris Isaak’s ‘Forever Blue’ album of 1995, I don’t think I’ve heard anyone cover it before. Again, it’s a vocally wide-ranging song, perfectly recounted by Mons. Off set that angsty tune with the genteel Hank Williams ‘Kaw-Liga’, about the wooden Indian, who fell in love with the Indian maid over in the antique store, and the sing-along ‘GI Blues’.
An immensely popular and diverse set was crowned with Jimmy Wages’ ‘Miss Pearl’, and ‘Jump Jive and Wail’. Excellent musicianship and vocals from a band on grade A form.
So, where do you go from Rockabilly, Rock n Roll, Western Swing & Bop? Well how about some swinging Rhythm and Blues and Jump Jive then? Yes please, and they don’t come much better than King Pleasure and the Biscuit Boys, especially when they open up with two and three quarter minutes of heaven and ‘Big Girl’.
In their classic blue suits, this combo played with panache and flamboyance, with bassist Shark van Schtoop, doing his customary buffoonery behind the doghouse. Make no mistake though readers, he doesn’t miss a note. They can mix up the flavours with some Western Swing too with Cliffie Stone’s ‘Barracuda’, and Blues with ‘You Upset me Baby’ and the rhythmic Jackie Wilson classic, ‘I’ll be Satisfied’.
The King was holding court and the jester raising a laugh among the crowd, this was a super show, and it wasn’t over yet. The saucily titled ‘Can’t Get Enough Of Your Stuff’, was followed by the familiar ‘Shake Rattle and Roll’ in the Big Joe style. King Pleasure plays sax, but the main duties were taken on by guest player, Paul Corry, who has an exceptional CV, playing with the likes of Roy Wood and Duane Eddy. His sax breaks were sublime, and perfect for the Biscuit Boy sound in ‘Big Jay Shuffle’.
Freddie Bell’s ‘Hey There You’ jollied along, as did Fats’ ‘I’m Walkin’ and Big Joe’s ‘Jump For Joy’, and to conclude the merriments ‘Buona Sera’. Just an exquisite show by a band that always delivers. It over ran a bit on time, but who’s complaining….
Rumbling dot…dot. Best tracks at the Rumble ever ever to prop up your marquee for this year were Ricky Nelson’s ‘Gypsy Woman’, ‘Where Can My Baby Be’ by Trini Lopez and ‘Scream and Bop’ by the Doel Brothers……….Oh we were so close weren’t we, to a completely dry Rumble, but boy what a bang to go out on, as raindrops the size of pears and thunder and lightning of biblical proportions hit the North East……At this point I’d like to welcome back everyone who had immediately scrolled to Sunday afternoon’s review, YES YOU!…….The sound guys deserve a mention, spot on, as do the guys who sort the lighting. Maybe a little less smoke next time perhaps, it got a bit foggy in there on Friday…..
In their classic blue suits, this combo played with panache and flamboyance, with bassist Shark van Schtoop, doing his customary buffoonery behind the doghouse. Make no mistake though readers, he doesn’t miss a note. They can mix up the flavours with some Western Swing too with Cliffie Stone’s ‘Barracuda’, and Blues with ‘You Upset me Baby’ and the rhythmic Jackie Wilson classic, ‘I’ll be Satisfied’.
The King was holding court and the jester raising a laugh among the crowd, this was a super show, and it wasn’t over yet. The saucily titled ‘Can’t Get Enough Of Your Stuff’, was followed by the familiar ‘Shake Rattle and Roll’ in the Big Joe style. King Pleasure plays sax, but the main duties were taken on by guest player, Paul Corry, who has an exceptional CV, playing with the likes of Roy Wood and Duane Eddy. His sax breaks were sublime, and perfect for the Biscuit Boy sound in ‘Big Jay Shuffle’.
Freddie Bell’s ‘Hey There You’ jollied along, as did Fats’ ‘I’m Walkin’ and Big Joe’s ‘Jump For Joy’, and to conclude the merriments ‘Buona Sera’. Just an exquisite show by a band that always delivers. It over ran a bit on time, but who’s complaining….
Rumbling dot…dot. Best tracks at the Rumble ever ever to prop up your marquee for this year were Ricky Nelson’s ‘Gypsy Woman’, ‘Where Can My Baby Be’ by Trini Lopez and ‘Scream and Bop’ by the Doel Brothers……….Oh we were so close weren’t we, to a completely dry Rumble, but boy what a bang to go out on, as raindrops the size of pears and thunder and lightning of biblical proportions hit the North East……At this point I’d like to welcome back everyone who had immediately scrolled to Sunday afternoon’s review, YES YOU!…….The sound guys deserve a mention, spot on, as do the guys who sort the lighting. Maybe a little less smoke next time perhaps, it got a bit foggy in there on Friday…..
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Spinners. The DJs for this weekender, played a super blend of records over the weekend. Some of them had rather unfashionable slots, while a lot in the marquee had gravitated back to their digs to change or get some scran. But there was never a dip in quality and variety of sounds. No sticking on a CD or LP on and waiting it out, oh no, the best of the best throughout. So lets hear it for Lord Fatkat, Mama Guitar, Poor Boy Paul, BeBop Kaz, Rob’s Rockin’ Jukebox and Tojo, and their various boxes of delight.
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Last day, and dare I suggest, an eclectic mix of styles of music, hmmm, read on maybe. First up however, was one of three bands that we’ve not seen before, Razor Holler. A four piece from the North West lead by rhythm guitarist and vocalist Rusty Williams, backed by Helen Blank on bass, Alan Bentley on drums and Danny Ibison on lead guitar.
From the opening bars of ‘Rocket in my Pocket’ and ‘That’s the Way I Feel’ it was clear that this was a band with some serious talent. Rusty’s self-deprecating, dead pan humour in between songs, like being ginger and getting sun-burnt on a moonlit night, and the virtues of bus travel versus aircraft, all added to the show immensely, as well as the supreme performance.
Taking Ersel Hickey’s ‘Going Down That Road’, and following with the foot stomping ‘How Low Can You Feel’ and a well-executed version of ‘No More Cryin’ the Blues’ should give you and idea of the band’s versatility. That and their own track, ‘Razor Holler’, along with a rarely heard version of ‘Gotta Travel On’. All that plus a super smooth take on Carl Perkins' 'Lend Me you Comb' , a track called 'Picky' that we weren't familiar with, but glad we are now, and the Jiants' 'Tornado' bopping beauty too. A really good introduction for us to this band, and one you all should check out folks.
Click on the pics for full size images
From the opening bars of ‘Rocket in my Pocket’ and ‘That’s the Way I Feel’ it was clear that this was a band with some serious talent. Rusty’s self-deprecating, dead pan humour in between songs, like being ginger and getting sun-burnt on a moonlit night, and the virtues of bus travel versus aircraft, all added to the show immensely, as well as the supreme performance.
Taking Ersel Hickey’s ‘Going Down That Road’, and following with the foot stomping ‘How Low Can You Feel’ and a well-executed version of ‘No More Cryin’ the Blues’ should give you and idea of the band’s versatility. That and their own track, ‘Razor Holler’, along with a rarely heard version of ‘Gotta Travel On’. All that plus a super smooth take on Carl Perkins' 'Lend Me you Comb' , a track called 'Picky' that we weren't familiar with, but glad we are now, and the Jiants' 'Tornado' bopping beauty too. A really good introduction for us to this band, and one you all should check out folks.
Click on the pics for full size images
From a Rockabilly and Country based sound, to a more rhythm and blues atmosphere next, and from Greater Manchester, Ashley’s Midnite Blues. Ashley Dixon fronts this five piece as the vocalist, aided and abetted by Michaela Sykes on sax, on lead guitar, Paul Kelsall, Paul Thompson on upright bass and drummer Tim Sykes.
Hold on tight, here we go with Lavern Baker’s ‘Voodoo Voodoo’ and the omnipresent ‘Mama He Treats Your Daughter Mean’. Switching gears with ease, they took on a brace of Janis Martin cracker(jack)s ‘Bang Bang’ and ‘Let’s Elope Honey’ with serious composure and assurance. And the variety didn’t stop there, with a cool swing to ‘Sinner Not a Saint’, and a belting rocker, Tarheel Slim’s, ‘Number Nine Train’.
Another LaVern sound (at least that’s who I associate this song with) ‘He’s a Real Gone Guy’, while Little Esther’s 1957 Savoy cut ‘If It’s News For You’, is perfect for this band, vocally and musically. Similarly Irma Thomas’ ‘Hittin’ on Nothing’ from 1963, sounded great too, and then we are back with the embittered lyrics of Joyce Green’s ‘Black Cadillac’, followed by Miss LaVelle’s ‘Stop These Teardrops’, originally from 1959. Three well deserved encores, including Jack Southern’s ‘Darlene’ and a massive impression left with the audience
Hold on tight, here we go with Lavern Baker’s ‘Voodoo Voodoo’ and the omnipresent ‘Mama He Treats Your Daughter Mean’. Switching gears with ease, they took on a brace of Janis Martin cracker(jack)s ‘Bang Bang’ and ‘Let’s Elope Honey’ with serious composure and assurance. And the variety didn’t stop there, with a cool swing to ‘Sinner Not a Saint’, and a belting rocker, Tarheel Slim’s, ‘Number Nine Train’.
Another LaVern sound (at least that’s who I associate this song with) ‘He’s a Real Gone Guy’, while Little Esther’s 1957 Savoy cut ‘If It’s News For You’, is perfect for this band, vocally and musically. Similarly Irma Thomas’ ‘Hittin’ on Nothing’ from 1963, sounded great too, and then we are back with the embittered lyrics of Joyce Green’s ‘Black Cadillac’, followed by Miss LaVelle’s ‘Stop These Teardrops’, originally from 1959. Three well deserved encores, including Jack Southern’s ‘Darlene’ and a massive impression left with the audience
From the sublime, to the unsublime, which isn’t a word but, I’m not going to suggest the next act was ridiculous. Bessie and the Zinc Buckets, described to us as a band that make a party. Well it seemed like we’d inadvertently gate crashed someone’s stag do. Let’s put it this way, as musicians, they are among the most talented that appeared at the Rumble, the set list might as well have been a paper dart that got thrown out the marquee after the opening number.
Taking ‘Jump Jive and Wail’ for instance, never heard it done like that, and followed by ‘Windmills of Your Mind’ from the film, The Thomas Crown Affair. OK, is there a pattern here? Errrrm, not when you have the ‘Theme From Scooby Doo’ to follow, and the Carpenters’ ‘Sweet Sweet Smile’. After each song there was interaction with the crowd, which kind of crossed Oz from ‘Auf Wiedersehen Pet’ and Roy ‘Chubby’ Brown.
Also, after every song was a call from the audience, for a charming little ditty called ‘Smash Ya Pastie’, which we’d acquainted ourselves with online before the show. Set to a kind of Nile Rogers meets the Sugar Hill Gang, beat, it’s full of single entendres, and fortunately reigned in given the number of youngsters in the crowd.
Throw in ‘Stray Cat Strut’, ‘Sam Hall’ and the ‘Ace of Spades’ as well as the theme from ‘Chitty Chitty Bang Bang’ (honestly, I’m not making this up) and you’ve still probably got no idea what we were watching. Neither, had I.
Click on the pics for full size images
Taking ‘Jump Jive and Wail’ for instance, never heard it done like that, and followed by ‘Windmills of Your Mind’ from the film, The Thomas Crown Affair. OK, is there a pattern here? Errrrm, not when you have the ‘Theme From Scooby Doo’ to follow, and the Carpenters’ ‘Sweet Sweet Smile’. After each song there was interaction with the crowd, which kind of crossed Oz from ‘Auf Wiedersehen Pet’ and Roy ‘Chubby’ Brown.
Also, after every song was a call from the audience, for a charming little ditty called ‘Smash Ya Pastie’, which we’d acquainted ourselves with online before the show. Set to a kind of Nile Rogers meets the Sugar Hill Gang, beat, it’s full of single entendres, and fortunately reigned in given the number of youngsters in the crowd.
Throw in ‘Stray Cat Strut’, ‘Sam Hall’ and the ‘Ace of Spades’ as well as the theme from ‘Chitty Chitty Bang Bang’ (honestly, I’m not making this up) and you’ve still probably got no idea what we were watching. Neither, had I.
Click on the pics for full size images
Some powerhouse Rockabilly with a blues and garage injection next, with Brett, Gary and Tony, the trio known as The Bullets. Recording for Western Star Records, they have been around for some considerable time, with their 2015 CD, ‘Go Man Go’ gaining a gold disc for outstanding sales.
For a trio, they make a heck of a sound, as they opened up with the afore mentioned ‘Go Man Go’. The set was made up of a first-class blend of original material and covers, with the bopping sound of, a kind of John Lee Hooker jams with a Rockabilly band sound ‘Motorhead Shelly’, playing against Benny Ingram’s ‘Jello Sal’. The thumping rhythm section sets up Brett’s searing guitar riffs and breaks on the trusty Strat, which results in a loud and proud sound.
The covers varied in style too, the stroll beat of ‘Brand New Cadillac’ through to the bop rhythms of ‘Senior Class’, ‘Stutterin’ Cindy’ and (a second outing on Sunday for) Jack Southern’s ‘Darlene’ . Their own material is a delight, ‘Thunderbird’ for example, about a drink rather than the car of that name, with a little product placement here and there…It would be discourteous to suggest an instrumental was the best track of such a fine show, however ‘Missing Link’ is a contender. You can guess from the title the tribute and the sound, however you have to listen to it to appreciate the quality of the band’s work in recreating the surf sound of the Linkster on this belter. ‘Buzz for the Blues’ is a growling stroller, while the pacey ‘Party Like Me’ formed one of two deserved encores. The scene needs more of The Bullets. Brilliant.
Click on the pics for full sized images
With the heavens opening outside, thunder crashing and lightning spectacularly flashing, it was time for the last band of the weekend, the Hayriders. Now a settled line up of Neil Wright on rhythm guitar and vocals, with Pat Reyford on bass, Ricky McCann on drums and Darren Lince on lead guitar. We all know they love Gene, and they opened up with two classics, ‘Who Slapped John’ and ‘Bluejean Bop’.
It became clear that Darren on lead, was unwell, but massive kudos, as they powered through the set regardless, taking on ‘All I Can Do is Cry’ and another Gene standard ‘Crazy Legs’. Mixing the tempos with Elvis’ ‘I Beg of You’ and Ronnie Self’s ‘Big Fool’, the lads were putting together a smashing blend of beats, well appreciated by the impressive numbers still in attendance. And dispatch style mentions for their version of Carl Perkins’ ‘Tennessee’, a song that’s enjoying a renaissance from the DJ’s decks and given due reverence by the Hayriders
Pat took over vocals for the Clarence Frogman Henry jolly ‘Ain’t Got no Home’, and that’s no easy task given the vocal range needed, but he did a top job, before Neil’s take on Pat Cupp’s seminal ‘I Guess it’s Meant That Way’, and an outstanding ‘Do What I Do’ as in Slim Rhodes. Yes folks, the Hayriders produced a classy conclusion to another fine Rumble.
Kevin Greener and Tracey Hobbs continue to put on quality events either side of the North of the country, pushing the envelope with the different musical styles under the Rock n Roll umbrella. Each year they introduce a new band to us it seems, this year it was three. Excellent weekender
Click on the pics for full size images
It became clear that Darren on lead, was unwell, but massive kudos, as they powered through the set regardless, taking on ‘All I Can Do is Cry’ and another Gene standard ‘Crazy Legs’. Mixing the tempos with Elvis’ ‘I Beg of You’ and Ronnie Self’s ‘Big Fool’, the lads were putting together a smashing blend of beats, well appreciated by the impressive numbers still in attendance. And dispatch style mentions for their version of Carl Perkins’ ‘Tennessee’, a song that’s enjoying a renaissance from the DJ’s decks and given due reverence by the Hayriders
Pat took over vocals for the Clarence Frogman Henry jolly ‘Ain’t Got no Home’, and that’s no easy task given the vocal range needed, but he did a top job, before Neil’s take on Pat Cupp’s seminal ‘I Guess it’s Meant That Way’, and an outstanding ‘Do What I Do’ as in Slim Rhodes. Yes folks, the Hayriders produced a classy conclusion to another fine Rumble.
Kevin Greener and Tracey Hobbs continue to put on quality events either side of the North of the country, pushing the envelope with the different musical styles under the Rock n Roll umbrella. Each year they introduce a new band to us it seems, this year it was three. Excellent weekender
Click on the pics for full size images
Your hosts for Hemsby nowadays are Bill Guntrip and his family. Following May’s event, Bill has announced a super line up for 2020. And indeed has a ‘save the date’ for 16th to 19th October 2020. In the meantime, check out the website for further details, and get booking, it’s going to be a good one.
Word is that there has been a lot of repeat bookings from this May, and in the regenerated camp site and new ownership, has reinforced the fact that the longest running Rock n Roll Weekender, is still going strong |
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Your host Tom Ingram, presents the biggest festival of Rockabilly in the world at the Orleans Hotel in Las Vegas Nevada, USA.
From it's beginnings in 1998, now over 20,000 people attend the various stages, to watch a truly varied and diverse line up of bands, and take part in the various events, pool party, burlesque show and car show. This is a unique event that takes place in April 2020. 
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For the second Southport Rumble event in the North West of the UK, your hosts Kevin Greener and Tracey Hobbs, have built on the success of this year’s weekender, with a stellar line up for 2020.
They also run successful country music events at the same venue and in the North East and the Rock Ridge Rumble weekender that you can read about in this issue (above), and check the old weekender page on our site for a full review of the 2019 debut weekender We don't have an image for them...….yet :) |
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Next time:- Our review and photos from the recent Nottingham Vintage Carnival. An interview with Jackson Sloan, and an insight into his song writing process. The Hicksville Bombers gig at Heacham in Norfolk, record reviews from Flat Top Mark’s label among others. That plus the usual waffle from the Bettajive Review, and loads of pics
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 20,000 + 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 Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome, although preferably not the proposal we received from one responder! Anatomically I just don't bend that way!. Keep up to date with us here, or on our various platforms:- Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/ Instagram https://www.instagram.com/bettajivereview/ Twitter https://twitter.com/AndrewBettajive email [email protected] Cheers 'til next month Andrew and June |
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