the bettajive review magazine #20
The Metrotones at Oakleigh Lodge
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Tex Speed Combo at Ockbrook
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Welcome everyone, and particularly everyone who has been with us from the start. Yes we are now twenty, well this is the twentieth issue. My goodness haven't we come through a lot, and there's still a way to go. This month we have turned our magazine over to the live events that we've been to since last issue including the Metrotones and the Tex Speed Combo pictured above. We also review two barn-burner CDs from top radio and club DJ The Nobster.
As restrictions have been largely lifted here in the UK, we will still continue to publish Government guidelines on the current Covid-19 situation
As restrictions have been largely lifted here in the UK, we will still continue to publish Government guidelines on the current Covid-19 situation
Four guys, luggage and bevvies in one car?
The Bettajive Review
The older you get, the better it was. Many of you/us that have been into the fifties Rock n Roll music scene for decades, were probably teenagers when it started for you. I hear and read from time to time, especially about one event, that twenty/thirty years ago was when it was the best time. Those are countered by the event that preceded it, was wilder and better still. Hmmm, I dunno. Comments like that are often from people who don’t go to such events anymore. And the people who will support and attend them today, aren’t they making their own special memories?
I think a conversation with a mate a couple of years ago kind of illustrates the difference between ‘then and now’, and it resonates as it’s forty years since the time I’m going to refer to. We went to the same venues (then), some of which are now either derelict, flats, or those shops with so little clothing on the shelves you know they’re expensive, and you’re too tight for them. They were happening places back then, young people doing young people stuff. Our conversation, would you believe, surrounded the price of a loaf of bread at a local supermarket. Yeah it was really big, they slice it for you on site and it was 75p, his family struggled to get through it all, it made great toast…….then it dawned on us….did we really have that conversation? Oh yes, we did, what has become of us!
Britain, the Rock n Roll scene and for that matter, anything, was so far removed from today in the 70’s and eighties. Then, a weekender meant mainly same sex groups roomed together. In 1981 I took three mates to a weekender, all the luggage and bevvys in my Escort estate, and no one had anything on their laps or in between them on the seats, it all fitted in the boot. Today, provided she’s folded up neatly, June can just about fit in the passenger seat as we have pretty much our entire house squished into the car. Other couples arrive at venues, with the passenger’s face flattened and gurning on one side against the windscreen…..just hope the wind doesn’t change!
The older you get, the better it was. Many of you/us that have been into the fifties Rock n Roll music scene for decades, were probably teenagers when it started for you. I hear and read from time to time, especially about one event, that twenty/thirty years ago was when it was the best time. Those are countered by the event that preceded it, was wilder and better still. Hmmm, I dunno. Comments like that are often from people who don’t go to such events anymore. And the people who will support and attend them today, aren’t they making their own special memories?
I think a conversation with a mate a couple of years ago kind of illustrates the difference between ‘then and now’, and it resonates as it’s forty years since the time I’m going to refer to. We went to the same venues (then), some of which are now either derelict, flats, or those shops with so little clothing on the shelves you know they’re expensive, and you’re too tight for them. They were happening places back then, young people doing young people stuff. Our conversation, would you believe, surrounded the price of a loaf of bread at a local supermarket. Yeah it was really big, they slice it for you on site and it was 75p, his family struggled to get through it all, it made great toast…….then it dawned on us….did we really have that conversation? Oh yes, we did, what has become of us!
Britain, the Rock n Roll scene and for that matter, anything, was so far removed from today in the 70’s and eighties. Then, a weekender meant mainly same sex groups roomed together. In 1981 I took three mates to a weekender, all the luggage and bevvys in my Escort estate, and no one had anything on their laps or in between them on the seats, it all fitted in the boot. Today, provided she’s folded up neatly, June can just about fit in the passenger seat as we have pretty much our entire house squished into the car. Other couples arrive at venues, with the passenger’s face flattened and gurning on one side against the windscreen…..just hope the wind doesn’t change!
Back then, we took one posh pair of trousers, and lived in jeans. Some lived so long in them that by the time they came home, the jeans were rigid in the standing position, and the wearer needed a block and tackle to get into them. Posh trousers were precious. A lad who roomed with me took a small hole out of his black pegs, during some extra-curricular activity I’d guess. With no sewing skills, or indeed sewing material, he smeared black shoe polish on his knee so the tell-tale white skin wouldn’t show through. Today, if you’re a bit of a tart like me, you need a change of outfits for every evening and have enough shoes for a centipede!
Youthful exuberance then, meant a commitment-free, devil-may-care attitude. A general disdain for your petrol at £1.64 per gallon, a burp from the bottom at Adam Ant and his two number ones (making one number two, arf arf), we cared not a jot for who shot JR and the inventor of that bloody Rubick’s cube would get a good shoe-ing if he’d shown up. Now, we fill up our car with something akin to liquid gold with increasingly furrowed brows, and mutterings (equates to £6.50 per gallon), we had no clue who Dappy is other than suggesting he might be Daffy Duck’s pointed hat wearing brother, we wonder if JR will be shot again in any new series, and the cube, is now a baffling game show on TV whilst the multicoloured one, still remains unsolved in a drawer. That is until you see some oik on TV who can solve it in ten seconds, and you have another go, for approximately ten seconds.
The young 80’s rocker wanted only somewhere to put their bag (if they were female), or jacket. No coats for some of the guys, you needed to have access to the twenty No.6 or Embassy Regal in the sleeve of a T-shirt. They’d need somewhere to occasionally lay their head, and in many cases, where their head laid, often wasn’t where it should have been! Some lads found themselves one morning covered in dew, in the middle of a roundabout at a junction. Now those well hard middle-aged types who had that attitude by the bucketful then, are still as hard, but have brought their own bedding! Don’t want to be getting cold do we….
The original acts actually still looked a bit like they did in the 50’s, many of the stars were still around and performing. The bands of the day were sharp dressed youngsters, built like pencils. Now the original acts are few and far between, sadly. Those that are left are cherished by an equally aging audience. Sure, neither leap and bounce around so much anymore, but some have still got ‘it’.
Dancefloors used to be for standing and chatting. Few couples jived, if they did, they did with each other, not with multiple partners. Guys bopped….occasionally…..and to specific tracks only, those that were the vogue at the time (anyone recall the furore surrounding ‘Rock Rock’ and ‘Long Blonde Hair’ when it first came out?). You could tread/slip on ciggie butts, bottle tops, spilled drinks, drunken sots, chewing gum and various other indescribable fluids. Now jivers jive to anything, no c-butts anymore, drinks are too expensive to spill and you’d be more likely to be aware of an errant HRT patch on the sole of your shoe!
You went home sleep deprived with a nervous twitch and a swishing sound in your ears, with tales of the wild times you had. Of course they were, you went home to no commitments, and a miraculous laundry fairy that turned your radio-active jeans into something wearable again while you were asleep. The only difference now, is that we have stories of a slightly different kind. The enjoyment is a slightly different manifestation, but it’s still there. The memories we create now may not be of wild semi clad, chalet hopping, drunken, loud seventeen-year-old iniquity. That is unless you know………no I mustn’t:-). But great memories of fun times they are indeed
Incidentally, 1981, a loaf of bread was 39p then, but of it was basic white sliced it was 36p! AAARRRGHHH!
Youthful exuberance then, meant a commitment-free, devil-may-care attitude. A general disdain for your petrol at £1.64 per gallon, a burp from the bottom at Adam Ant and his two number ones (making one number two, arf arf), we cared not a jot for who shot JR and the inventor of that bloody Rubick’s cube would get a good shoe-ing if he’d shown up. Now, we fill up our car with something akin to liquid gold with increasingly furrowed brows, and mutterings (equates to £6.50 per gallon), we had no clue who Dappy is other than suggesting he might be Daffy Duck’s pointed hat wearing brother, we wonder if JR will be shot again in any new series, and the cube, is now a baffling game show on TV whilst the multicoloured one, still remains unsolved in a drawer. That is until you see some oik on TV who can solve it in ten seconds, and you have another go, for approximately ten seconds.
The young 80’s rocker wanted only somewhere to put their bag (if they were female), or jacket. No coats for some of the guys, you needed to have access to the twenty No.6 or Embassy Regal in the sleeve of a T-shirt. They’d need somewhere to occasionally lay their head, and in many cases, where their head laid, often wasn’t where it should have been! Some lads found themselves one morning covered in dew, in the middle of a roundabout at a junction. Now those well hard middle-aged types who had that attitude by the bucketful then, are still as hard, but have brought their own bedding! Don’t want to be getting cold do we….
The original acts actually still looked a bit like they did in the 50’s, many of the stars were still around and performing. The bands of the day were sharp dressed youngsters, built like pencils. Now the original acts are few and far between, sadly. Those that are left are cherished by an equally aging audience. Sure, neither leap and bounce around so much anymore, but some have still got ‘it’.
Dancefloors used to be for standing and chatting. Few couples jived, if they did, they did with each other, not with multiple partners. Guys bopped….occasionally…..and to specific tracks only, those that were the vogue at the time (anyone recall the furore surrounding ‘Rock Rock’ and ‘Long Blonde Hair’ when it first came out?). You could tread/slip on ciggie butts, bottle tops, spilled drinks, drunken sots, chewing gum and various other indescribable fluids. Now jivers jive to anything, no c-butts anymore, drinks are too expensive to spill and you’d be more likely to be aware of an errant HRT patch on the sole of your shoe!
You went home sleep deprived with a nervous twitch and a swishing sound in your ears, with tales of the wild times you had. Of course they were, you went home to no commitments, and a miraculous laundry fairy that turned your radio-active jeans into something wearable again while you were asleep. The only difference now, is that we have stories of a slightly different kind. The enjoyment is a slightly different manifestation, but it’s still there. The memories we create now may not be of wild semi clad, chalet hopping, drunken, loud seventeen-year-old iniquity. That is unless you know………no I mustn’t:-). But great memories of fun times they are indeed
Incidentally, 1981, a loaf of bread was 39p then, but of it was basic white sliced it was 36p! AAARRRGHHH!
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Dot…dot Best tracks in the world ever ever to cram your cannelloni for this month are ‘For You My Love’ by Nat King Cole and Nellie Lutcher, ‘Georgia Slop’ by Jimmy McCracklin and I’ll Keep On Loving You’ by Ray Price ……Someone was explaining how he’d taken all of his and his family’s old clothing to an organisation that paid 75p per kilo for it. “Why don’t you take your old stuff up there?” he said. My reply is unprintable, slightly Russian sounding and a full unabridged version available on receipt of SAE and a tenner!....It’s great when an artist, releases a CD or record that makes it onto Amazon (other internet mail order suppliers are available). Interesting also that there are helpful suggestions at the bottom of the page that read ‘Others who purchased this also bought……’ The problem being, what if there has only been one sold to date? ‘Others who purchased this also bought Garden Shears, Hair Straighteners and a Sat Nav’. Rock ‘n’ Roll!.......Oh that spellchecker again, who’s Rustic Steel?.....Some folks have mentioned over the past couple of weeks that they have been unable to get into some of their clothes, due to over a year’s worth of inactivity. However guys, if your necktie doesn’t fit, you’re probably best off ordering the salad next time you eat…… The daytime gig we went to, made us wonder if attendees would arrive with their weekly shop stacked up behind the seating…….Sad to read about the death of Bill Haley’s saxophonist Joey Ambrose, and Don Everly of the Everly Brothers, the latter of which was a particular favourite of my dad’s (and I filched all his records some years ago! pic of trio of them below)….
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At this point we must say a massive thank you and good luck to Nigel ‘Domino’ Babb, who has had to close the Domino Rock n Roll Club for the foreseeable future. Domino is a guy who’s enthusiasm is boundless, and a massive supporter of the Rock n Roll music circuit. His club in Letchworth, had many memorable events, and during the pandemic Nigel arranged many a top DJ Jamboree. We send Nigel and Beverly all good wishes for the future.
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Like what you see so far? Help us keep it free by popping us a donation using the button below
Hemsby, we're told, is all but sold out, but contact the team for further details by clicking the flyer to take you to their home page
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New for 2022 from Bill Guntrip
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JG at Atomic Vintage Festival
Interview with J.G.
J.G., short for Jay Gipson, we were surprised to learn, has been performing and playing guitar for some thirty years. His band, the Ultimates are up there with the best of British Blues and R&B bands on the circuit. It was so good to see them back in the fray, on stage at the recent Cooking Club all dayer, the first event we’d been to since Covid restrictions were lifted. We decided an interview was due.
BJR. Who was your influence to pick up and play guitar?
First guitarist would’ve been both Elmore James & also BB King. A friend had a tape of Elmore & it was like nothing i’d ever heard before.
BJR. Did you have formal lessons or are you self-taught?
Went to a guitar teacher when I was 14 but only had a couple of lessons with him as he was a bit stuffy and then had a great teacher after that for about a year. But then he left for the States to tour so after that I pretty much carried on by myself. I did take on some students myself years later and about 8 years ago I became a student again, taking workshops with Chris Corcoran when I can. You never stop learning no matter how long you’ve played for.
BJR. Do you still have your first guitar? And how many do you own now?
I do, it was my dad’s. A Watkins Rapier. He doesn’t play but bought one with the intention to do so. Think the only song he learnt though was a bit of The Shadows, ‘Apache’ and that was as far as he got with it. Luckily for me he kept it as a wall decoration so when I showed interest, there was one for me to pick on. Had many and sold many but i’ve kept hold of seven guitars and also two lap steels. Always room for more though. Sshhhh.
BJR. Where did your interest in Rock n Roll and R&B come from/start?
Always had music around growing up so I guess it was osmosis really. Both my parents played vinyl regularly and when I was in my early teens, I started buying my own as well.
R&B, blues, soul, rock n roll attracted me and still to this day. I couldn’t tell you any deep reason why, it’ll sound corny I know, I just love how it makes me feel.
BJR. Who are your major influences musically, past artists or current?
Too many to mention and also my influences have developed and changed many time over. But if I had to single out some guitarists I admire it would be BB King, Buddy Guy, Mississippi Fred McDowell, Hendrix & Nick Curran. But to be totally honest it’s the music itself really rather than any one single musician or guitarist or band.
BJR. When forming your band, did you have a vision of what type of set list you would like to play?
Yeah i’ve played in many bands & styles over the years but when I first formed this band in 2012 I think It was, I wanted to play R&B with the vibe of Nick Curran & JD McPherson with a smattering of my original tunes as well as covers.
But I suppose that keeps changing and sets develop as time go on.
J.G., short for Jay Gipson, we were surprised to learn, has been performing and playing guitar for some thirty years. His band, the Ultimates are up there with the best of British Blues and R&B bands on the circuit. It was so good to see them back in the fray, on stage at the recent Cooking Club all dayer, the first event we’d been to since Covid restrictions were lifted. We decided an interview was due.
BJR. Who was your influence to pick up and play guitar?
First guitarist would’ve been both Elmore James & also BB King. A friend had a tape of Elmore & it was like nothing i’d ever heard before.
BJR. Did you have formal lessons or are you self-taught?
Went to a guitar teacher when I was 14 but only had a couple of lessons with him as he was a bit stuffy and then had a great teacher after that for about a year. But then he left for the States to tour so after that I pretty much carried on by myself. I did take on some students myself years later and about 8 years ago I became a student again, taking workshops with Chris Corcoran when I can. You never stop learning no matter how long you’ve played for.
BJR. Do you still have your first guitar? And how many do you own now?
I do, it was my dad’s. A Watkins Rapier. He doesn’t play but bought one with the intention to do so. Think the only song he learnt though was a bit of The Shadows, ‘Apache’ and that was as far as he got with it. Luckily for me he kept it as a wall decoration so when I showed interest, there was one for me to pick on. Had many and sold many but i’ve kept hold of seven guitars and also two lap steels. Always room for more though. Sshhhh.
BJR. Where did your interest in Rock n Roll and R&B come from/start?
Always had music around growing up so I guess it was osmosis really. Both my parents played vinyl regularly and when I was in my early teens, I started buying my own as well.
R&B, blues, soul, rock n roll attracted me and still to this day. I couldn’t tell you any deep reason why, it’ll sound corny I know, I just love how it makes me feel.
BJR. Who are your major influences musically, past artists or current?
Too many to mention and also my influences have developed and changed many time over. But if I had to single out some guitarists I admire it would be BB King, Buddy Guy, Mississippi Fred McDowell, Hendrix & Nick Curran. But to be totally honest it’s the music itself really rather than any one single musician or guitarist or band.
BJR. When forming your band, did you have a vision of what type of set list you would like to play?
Yeah i’ve played in many bands & styles over the years but when I first formed this band in 2012 I think It was, I wanted to play R&B with the vibe of Nick Curran & JD McPherson with a smattering of my original tunes as well as covers.
But I suppose that keeps changing and sets develop as time go on.
A young JG (Editor's note, he hasn't changed much has he :) )
BJR. Do you recall your first performance?
It was either a gig at John Ruskin 6th form college ( I studied art & design but dropped out) or a local pub in Croydon, The Rose & Crown. I remember feeling nervous but equally addicted to performing live from then onwards.
BJR. What do you think the biggest crowd was you played in front of?
Was lucky enough to play quite a few biggies when I was a guitarist for the Si Cranstoun Band. Highlights being Las Vegas, Americana & Twinwood. Those were a few thousand plus I guess. Small intimate gigs I have to say are far more scary though.
BJR. And are there any songs that you must include in your set
None that have to be in but there’s a couple that have lasted more than others. I’d say ‘Burnt Toast & Black Coffee’ and one of mine, ‘Hide it from your daddy’ seem to be main stays.
BJR. Any recordings in the pipeline
I’d like to for sure as I have songs i’d like to put down and it’s been quite a few years since we last recorded and put anything out. Hopefully once I can both raise the finances and also get everyone together to do it. The Ultimates consist of many musicians far and wide so the line up does change quite a lot depending on who is available at the time. They all bring something special to the pot though.
BJR. How did the Covid situation effect you? Were you able to spend the time creatively, or was it a case of waiting for things to work out during the lockdowns?
Massively like everyone. All our dates got postponed or cancelled. I would like to tell you I had spent the time being creative but to be honest, I played very little. I put the guitar down and spent a lot of time diy-ing as my new house needs a lot of work. Back to playing again now though and trying to reduce the rustiness ready for when the gigs pick up again.
BJR. What’s next for JG and the Ultimates?
Hopefully, more gigs and more recording. We’re playing next at the Portsmouth Swingdance Sat 04 Sept and the next thing will be working on is possibly getting a 45” vinyl out. Watch this space.
BJR. And finally, how can people get in touch with the band?
The socials, www.facebook.com/jg&theultimates , instagram.com/jgandtheultimates, email [email protected] or come and say hello in person at a show.
It was either a gig at John Ruskin 6th form college ( I studied art & design but dropped out) or a local pub in Croydon, The Rose & Crown. I remember feeling nervous but equally addicted to performing live from then onwards.
BJR. What do you think the biggest crowd was you played in front of?
Was lucky enough to play quite a few biggies when I was a guitarist for the Si Cranstoun Band. Highlights being Las Vegas, Americana & Twinwood. Those were a few thousand plus I guess. Small intimate gigs I have to say are far more scary though.
BJR. And are there any songs that you must include in your set
None that have to be in but there’s a couple that have lasted more than others. I’d say ‘Burnt Toast & Black Coffee’ and one of mine, ‘Hide it from your daddy’ seem to be main stays.
BJR. Any recordings in the pipeline
I’d like to for sure as I have songs i’d like to put down and it’s been quite a few years since we last recorded and put anything out. Hopefully once I can both raise the finances and also get everyone together to do it. The Ultimates consist of many musicians far and wide so the line up does change quite a lot depending on who is available at the time. They all bring something special to the pot though.
BJR. How did the Covid situation effect you? Were you able to spend the time creatively, or was it a case of waiting for things to work out during the lockdowns?
Massively like everyone. All our dates got postponed or cancelled. I would like to tell you I had spent the time being creative but to be honest, I played very little. I put the guitar down and spent a lot of time diy-ing as my new house needs a lot of work. Back to playing again now though and trying to reduce the rustiness ready for when the gigs pick up again.
BJR. What’s next for JG and the Ultimates?
Hopefully, more gigs and more recording. We’re playing next at the Portsmouth Swingdance Sat 04 Sept and the next thing will be working on is possibly getting a 45” vinyl out. Watch this space.
BJR. And finally, how can people get in touch with the band?
The socials, www.facebook.com/jg&theultimates , instagram.com/jgandtheultimates, email [email protected] or come and say hello in person at a show.
live gigs, yeeeeeahh
Trust Rust. For our very first sortie to an indoor gig in the sense we used to know them, we nipped over to Chesterfield Rock n Roll Club, for their first event ‘back’, featuring the dependable combo of Rusti Steel and the Startones. Tonight they were playing a trio, with Lloyd Mills unable to make the gig, so it was Rusti on lead guitar and vocals, with Stewart Dale slapping the upright bass and drummer Andy Meadows.
With the event due to start at 7.30pm, and our arrival just after then, it was massively encouraging to see just how many people had turned out to support the club. Admittedly there was a certain air of nervousness to begin with, but the delight on people’s faces and their demeanour when they saw others that had been nothing more than the odd zoom call, in the flesh for the first time in goodness-knows-how-long, was palpable.
DJs for the night, residents Andy B and Steve O, who alternate throughout the evening. Now playing of chunky slabs of 7” vinyl exclusively, they presented some absolute corkers, such as the Whirlers ‘Tonight and Forever’, The Ebonaires ‘Shut Your Mouth’ and the Champs’ ‘Beatnik’, to name but three. Cool beans.
Rusti took to the stage, slinging his Squier Telecaster, and lunched into the first of his two sets, with the effervescent enthusiasm that comes as standard. Whether it’s dyed-in-the-wool Rockabilly like Curtis Gordon’s ‘Draggin’ from 1956 or R&B like Hank Ballard’s ‘Sexy Ways’ from ’53, you get the same musical and vocal commitment, producing a super sound. A massive surprise came with a Gospel tune originally from Sister Rosetta Tharpe in ’55. ‘Who Rolled The Stone Away’. With Stewart Dale on the walking bass, and a refined and genteel drum beat from Andy Meadows, this song transferred extremely well to the male vocalist, and rockin trio style.
Gears switched between Buddy’s ‘Midnight Shift’ and Chuck’s ‘Almost Grown’ to Jerry Reed’s ‘When I Found You’. Then it was time for some sliding on the ironing board and some Western Swing, with ‘Ballroom Baby’ and to top off the first set, ‘Real Rock Drive’
More of the same in the second set with two beauties, to set the tone (pun intended) with ‘All Night Rock’ and Thumper Jones’ ‘How Come It’. Filling the floor with strollers next with a brace of classics, ‘Worrying Kind’ and ‘Ting-a-Ling’, before a blistering take on Gene Wyatt’s kick-a*se bopper ‘Lover Boy’. Got to flag up Stewart’s vocalising Wiley Barkdull’s ‘Ain’t Gonna Waste My Time’ too, just an ace from the Startone sleeve.
Heading toward the end of the show, and a super duet with Rusti and Stewart taking on Jimmy and Johnny’s ‘Love Me’ which worked really well despite being a guitar short on stage. Good also to hear two of the band’s originals, ‘Prisoner of Your Charms’ and ‘Rachael Roo’ set to the same rhythm as ‘Linda Lu’. From the Embassy sessions, several years ago, came ‘Traffic Jam’, a perfect tune for the steel guitar and the imitation of car horns. Rounding off a memorable show was Pee Wee King’s ‘Catty Town’ and an encore of the appropriately titled ‘Goodbye Goodbye’.
Rusti Steel is one of those artists that you can guarantee will put on a great show, the pandemic has left no rust on Rusti (arf arf). This was a good one readers, in a fine environment and company. Kudos to everyone involved at the club for a smashing night
With the event due to start at 7.30pm, and our arrival just after then, it was massively encouraging to see just how many people had turned out to support the club. Admittedly there was a certain air of nervousness to begin with, but the delight on people’s faces and their demeanour when they saw others that had been nothing more than the odd zoom call, in the flesh for the first time in goodness-knows-how-long, was palpable.
DJs for the night, residents Andy B and Steve O, who alternate throughout the evening. Now playing of chunky slabs of 7” vinyl exclusively, they presented some absolute corkers, such as the Whirlers ‘Tonight and Forever’, The Ebonaires ‘Shut Your Mouth’ and the Champs’ ‘Beatnik’, to name but three. Cool beans.
Rusti took to the stage, slinging his Squier Telecaster, and lunched into the first of his two sets, with the effervescent enthusiasm that comes as standard. Whether it’s dyed-in-the-wool Rockabilly like Curtis Gordon’s ‘Draggin’ from 1956 or R&B like Hank Ballard’s ‘Sexy Ways’ from ’53, you get the same musical and vocal commitment, producing a super sound. A massive surprise came with a Gospel tune originally from Sister Rosetta Tharpe in ’55. ‘Who Rolled The Stone Away’. With Stewart Dale on the walking bass, and a refined and genteel drum beat from Andy Meadows, this song transferred extremely well to the male vocalist, and rockin trio style.
Gears switched between Buddy’s ‘Midnight Shift’ and Chuck’s ‘Almost Grown’ to Jerry Reed’s ‘When I Found You’. Then it was time for some sliding on the ironing board and some Western Swing, with ‘Ballroom Baby’ and to top off the first set, ‘Real Rock Drive’
More of the same in the second set with two beauties, to set the tone (pun intended) with ‘All Night Rock’ and Thumper Jones’ ‘How Come It’. Filling the floor with strollers next with a brace of classics, ‘Worrying Kind’ and ‘Ting-a-Ling’, before a blistering take on Gene Wyatt’s kick-a*se bopper ‘Lover Boy’. Got to flag up Stewart’s vocalising Wiley Barkdull’s ‘Ain’t Gonna Waste My Time’ too, just an ace from the Startone sleeve.
Heading toward the end of the show, and a super duet with Rusti and Stewart taking on Jimmy and Johnny’s ‘Love Me’ which worked really well despite being a guitar short on stage. Good also to hear two of the band’s originals, ‘Prisoner of Your Charms’ and ‘Rachael Roo’ set to the same rhythm as ‘Linda Lu’. From the Embassy sessions, several years ago, came ‘Traffic Jam’, a perfect tune for the steel guitar and the imitation of car horns. Rounding off a memorable show was Pee Wee King’s ‘Catty Town’ and an encore of the appropriately titled ‘Goodbye Goodbye’.
Rusti Steel is one of those artists that you can guarantee will put on a great show, the pandemic has left no rust on Rusti (arf arf). This was a good one readers, in a fine environment and company. Kudos to everyone involved at the club for a smashing night
Juniper Fayre
With covid restrictions largely relaxed, it was with minimal trepidation that we undertook a trip to the inaugural Juniper Fayre event at Hanworth Country Park, Potterhanworth in Lincolnshire. Billed as a 40’s/50’s/60’s event, it had mainly Rock ‘n’ Roll acts with DJ’s spinning tunes from the 40’s swing era, through Rockabilly and Rock n Roll, to Northern Soul and Reggae. Oh and Winston Churchill………….read on.
Hanworth Park itself is a forty-two acre site, on the outskirts of Lincoln, featuring walks, woods and loads of fishing lakes, camping and other leisure accommodation. The Fayre had a large grassed area surrounded by the tents of the vendors for the vintage market, classic cars and WW2 army displays. The main music marquee had adequate seating and was open enough for those who preferred to, to stay outside and keep in touch with what was going on within. And with the benefit of Phil Bush’s Sounds and Pressure Lo-Fi vintage valve sound system (which is massive), everyone could benefit from the clear and crisp sound wherever they were on site. It’s that impressive, people were as much taken by the visual impact of it as they were, the sound.
I guess for several attendees, it may have been their first sortie to a populated event, post Covid restrictions, and one could sense a certain reticence initially to engage with people, which I imagine, comes naturally with being locked down in a worldwide pandemic. That soon relaxed, and the cool breeze that swished around the place, provided just the right respite, to pretty much give the event a perfect afternoon temperature. Above all, following biblical rain in the area the previous night, mercifully, it stayed dry!
With covid restrictions largely relaxed, it was with minimal trepidation that we undertook a trip to the inaugural Juniper Fayre event at Hanworth Country Park, Potterhanworth in Lincolnshire. Billed as a 40’s/50’s/60’s event, it had mainly Rock ‘n’ Roll acts with DJ’s spinning tunes from the 40’s swing era, through Rockabilly and Rock n Roll, to Northern Soul and Reggae. Oh and Winston Churchill………….read on.
Hanworth Park itself is a forty-two acre site, on the outskirts of Lincoln, featuring walks, woods and loads of fishing lakes, camping and other leisure accommodation. The Fayre had a large grassed area surrounded by the tents of the vendors for the vintage market, classic cars and WW2 army displays. The main music marquee had adequate seating and was open enough for those who preferred to, to stay outside and keep in touch with what was going on within. And with the benefit of Phil Bush’s Sounds and Pressure Lo-Fi vintage valve sound system (which is massive), everyone could benefit from the clear and crisp sound wherever they were on site. It’s that impressive, people were as much taken by the visual impact of it as they were, the sound.
I guess for several attendees, it may have been their first sortie to a populated event, post Covid restrictions, and one could sense a certain reticence initially to engage with people, which I imagine, comes naturally with being locked down in a worldwide pandemic. That soon relaxed, and the cool breeze that swished around the place, provided just the right respite, to pretty much give the event a perfect afternoon temperature. Above all, following biblical rain in the area the previous night, mercifully, it stayed dry!
Charlotte Porter
To the live music, four acts on Saturday afternoon and evening, starting with a solo singer, Charlotte Porter. Every inch the forties songster, she relied on pre-recorded backing music, vocalising along to it. And she took on some pretty immense tracks with an accomplished vocal delivery, and early standout example would’ve been Imelda May’s ‘Big Bad Handsome Man’. Peggy Lee’s ‘It’s a Good Day’, with it’s mid-1940’s vibe rolled along, as did her version of Nat King Cole’s ‘Straighten Up and Fly Right’. For many of us who are of a certain vintage, ‘Bring Me Sunshine’ will always conjure up images of Eric and Ernie cavorting about at the end of their shows (and there’s always one who does ‘it’). Not sure if this was a request or a plea to the rain Gods, or just what came next in Charlotte’s playlist, but whatever, it worked.
Back to the forties and Rose Murphy’s jolly and novelty ditty, ‘Busy Line’ complete with appropriate ‘brr brrs’. ‘Love Potion Number Nine’ and ‘Mack the Knife’ kept the quality up as did a cool version of ‘Too Darn Hot’, whether your preference is Ella Fitzgerald or Ann Miller in ‘Kiss Me Kate’. And to top off, a rousing version of ‘Jump Jive and Wail’. Need to see this young lady with a live band of musicians backing her, that’ll be a good one.
Between the bands, we had a visit from Winston Churchill, who presented the prizes for the car show, best American, best British and People’s choice *see gallery*
Back to the forties and Rose Murphy’s jolly and novelty ditty, ‘Busy Line’ complete with appropriate ‘brr brrs’. ‘Love Potion Number Nine’ and ‘Mack the Knife’ kept the quality up as did a cool version of ‘Too Darn Hot’, whether your preference is Ella Fitzgerald or Ann Miller in ‘Kiss Me Kate’. And to top off, a rousing version of ‘Jump Jive and Wail’. Need to see this young lady with a live band of musicians backing her, that’ll be a good one.
Between the bands, we had a visit from Winston Churchill, who presented the prizes for the car show, best American, best British and People’s choice *see gallery*
The Sundown Boys
Next up, the first time we get to see the Sundown Boys, Scott Brown, Dan Morley and Danny Brown, forming a trio featuring just rhythm guitar, double bass and lead guitar, and a pretty darn good playlist too. They pulled chunky numbers in from around the site too, with their brand of stripped-down Country Bop, Hillbilly and Rockabilly. They hit the ground running with Jimmy Johnson’s ‘How About Me Pretty Baby’, the recounting of which was spot on, as was Al Ferrier’s ’56 cut on Goldbrand, ‘My Baby Done Gone Away’. Glenn Glenn’s ‘One Cup of Coffee and a Cigarette’ was perfectly suited to this type of musical set up, and the crowd really appreciated the vocal harmonies within Ben Hall’s ‘Moo Mama’.
To be honest, the whole set was chocca with corking tunes, ‘Grandaddy’s Rockin’, Buddy’s ‘Ting a Ling’ and Sid King’s ‘Sag Drag and Fall’ for example, but if I had to pick a fave, it would be Jimmy and Johnny’s ‘I’ll Do It Every Time’. Just a perfect rendition vocally and musically, of a track that doesn’t get covered that often. Also vying for the attention was Lloyd McCullough’s ‘Gonna Love My Baby Now’, an obscurity from 1956 on the Republic label from Nashville, that expects a certain vocal delivery, and got it!
Toward the end of the set now with the likes of ‘Daddy-O Rock’ and Thumper Jones’ ‘How Come It’, and the well-deserved encore of and Elvis Sun rocker, ‘Just Because’. Look out for this trio, folks.
DJ’s in the tent mixed up a considerable amount of flavours, be they big band and jive from the 40’s, jumping R&B, Western Swing, Rockabilly, Rock n Roll, Garage, Surf, 60’s reggae, Ska and Bluebeat, and Northern Soul. Shouts out to Robin Summerfield, Phil Bush, Craig Douglas, Andy Barker, Craig Simpson and Dave Crozier.
To be honest, the whole set was chocca with corking tunes, ‘Grandaddy’s Rockin’, Buddy’s ‘Ting a Ling’ and Sid King’s ‘Sag Drag and Fall’ for example, but if I had to pick a fave, it would be Jimmy and Johnny’s ‘I’ll Do It Every Time’. Just a perfect rendition vocally and musically, of a track that doesn’t get covered that often. Also vying for the attention was Lloyd McCullough’s ‘Gonna Love My Baby Now’, an obscurity from 1956 on the Republic label from Nashville, that expects a certain vocal delivery, and got it!
Toward the end of the set now with the likes of ‘Daddy-O Rock’ and Thumper Jones’ ‘How Come It’, and the well-deserved encore of and Elvis Sun rocker, ‘Just Because’. Look out for this trio, folks.
DJ’s in the tent mixed up a considerable amount of flavours, be they big band and jive from the 40’s, jumping R&B, Western Swing, Rockabilly, Rock n Roll, Garage, Surf, 60’s reggae, Ska and Bluebeat, and Northern Soul. Shouts out to Robin Summerfield, Phil Bush, Craig Douglas, Andy Barker, Craig Simpson and Dave Crozier.
The Spellcasters
Well, that’s two bands we’ve not seen play live before today, and now here’s a third. The Spellcasters were conjured-up (see what I did there) in 2019, and as with many a band, shuddered to an inglorious halt before they could fulfil any dates due to that cursed virus. I think this was only their second ‘actual’ gig, and the personnel of Jon-Jack Bowell on rhythm guitar and vocals, JD England on lead guitar, bassist Dave Kopke and drummer Pete ‘Blip’ Mulvihill were entering the fray with a few post covid rehearsals under their belts. Anyone reading this and thinking ‘It’s the Slingshots with a new singer’ or ‘It’s Jack and the Real Deals and a couple of other geezers’ *raises voice an octave* Wrong!
In fact, the set was a treasure chest of curios from left and right field, an indeed down the middle, as they launched in to ‘It’s Alright’ as the opener. Then, Carl Perkins, but not from the catalogue you might expect, no this was ‘Lonely Heart’ from 1964. Cue a change of guitar as JD broke a string. More wizardry followed with Roy Melton’s ‘Boppin Guitar’ and Lance Roberts’ ‘Gonna Have Myself a Ball’, and how about Johnny Appleseed or Donnie Owen’s ‘Ever Night Lulu’ (1968 and 1975)? There was wizardry a-plenty in that song.
Similarly, versions of Moon Mullican’s ‘Big Big City’ and another 60’s track from Carl Perkins ‘Any Way The Wind Blows’ got rare outings (I’d not heard the Moon track before!) and in line with their name, we also rocked out to ‘Hocus Pocus’. Yes indeedy! Oh, what do you know? JD broke another string, I’m buying a share or two in Super Slinkys! (other nickel wound electric guitar strings, are available) There was a couple of bop favourites near the end of the show with the Rockabilly classic ‘Got Love If You Want It’ from Warren Smith, and top floor-filler from the mid-sixties ‘Darlene’ from Jack Southern.
The set concluded with a kick-a*se version of ‘Bitter Feelings’ Larry Lee Philipson’s pacy rocker. And that was that, disappointing that the band were not afforded an encore, which I can reliably inform you would have been ‘Cast My Spell on You’.
In fact, the set was a treasure chest of curios from left and right field, an indeed down the middle, as they launched in to ‘It’s Alright’ as the opener. Then, Carl Perkins, but not from the catalogue you might expect, no this was ‘Lonely Heart’ from 1964. Cue a change of guitar as JD broke a string. More wizardry followed with Roy Melton’s ‘Boppin Guitar’ and Lance Roberts’ ‘Gonna Have Myself a Ball’, and how about Johnny Appleseed or Donnie Owen’s ‘Ever Night Lulu’ (1968 and 1975)? There was wizardry a-plenty in that song.
Similarly, versions of Moon Mullican’s ‘Big Big City’ and another 60’s track from Carl Perkins ‘Any Way The Wind Blows’ got rare outings (I’d not heard the Moon track before!) and in line with their name, we also rocked out to ‘Hocus Pocus’. Yes indeedy! Oh, what do you know? JD broke another string, I’m buying a share or two in Super Slinkys! (other nickel wound electric guitar strings, are available) There was a couple of bop favourites near the end of the show with the Rockabilly classic ‘Got Love If You Want It’ from Warren Smith, and top floor-filler from the mid-sixties ‘Darlene’ from Jack Southern.
The set concluded with a kick-a*se version of ‘Bitter Feelings’ Larry Lee Philipson’s pacy rocker. And that was that, disappointing that the band were not afforded an encore, which I can reliably inform you would have been ‘Cast My Spell on You’.
Pat Reyford Trio
The final act of the day, was Pat Reyford’s Trio. Again, a different sound for the event with guitar, bass and piano making up the musical sound. Pat, looking dapper in his grey suit and hat, is every inch the consummate performer. He was backed by Guy Trigg on bass and Holly Roberts, on piano. What sort of sound would that combination make? Take it from us, a good one
The opening song was probably taken from furthest back date-wise, 1938, and ‘Flat Foot Floogie (with a Floy Floy)’ an example of which I’m sure everyone has in their kitchen cupboard. Recorded by Slim and Slam, it was actually quite risqué, Floogie was originally ‘floozie’ and ‘floy floy’ is a slang term for an STD! Don’t think that occurred to the many of us bouncing joyfully to Pat’s chunka-chunka guitar riffs
Hot on the heels was ‘Pistol Packin’ Mama’, oft recognisable as a Gene Vincent tune. This version went back to the original honky-tonk Al Dexter original style from ‘42/43. Back with Slim Gaillard next, and the curious tune ‘Dunkin’ Bagels’, more mid-40’s odd-ballery, which the crowd lapped up. You’re getting the picture here aren’t you readers, expertly delivered, uber-smooth guitar riffs, interspersed with piano and driven along by deft bass work. Favourites like ‘Oakie Boogie’ and ‘Drinking Wine Spo-dee-o-dee represented a seamless transition from the jazzy sound to a mid-to-late 40’s Western swing resonance, and then some jump jive with ‘Ain’t Got No Home’. Super stuff.
A great mix of music, a blend of styles from different eras, in fact something for everyone who attended. Let’s hope that the Juniper Fayre will be able to build on this event, without the obstacle of a major pandemic, and increase it’s success of this very impressive opening event. Gallery images below, click on them for full sized pics
The opening song was probably taken from furthest back date-wise, 1938, and ‘Flat Foot Floogie (with a Floy Floy)’ an example of which I’m sure everyone has in their kitchen cupboard. Recorded by Slim and Slam, it was actually quite risqué, Floogie was originally ‘floozie’ and ‘floy floy’ is a slang term for an STD! Don’t think that occurred to the many of us bouncing joyfully to Pat’s chunka-chunka guitar riffs
Hot on the heels was ‘Pistol Packin’ Mama’, oft recognisable as a Gene Vincent tune. This version went back to the original honky-tonk Al Dexter original style from ‘42/43. Back with Slim Gaillard next, and the curious tune ‘Dunkin’ Bagels’, more mid-40’s odd-ballery, which the crowd lapped up. You’re getting the picture here aren’t you readers, expertly delivered, uber-smooth guitar riffs, interspersed with piano and driven along by deft bass work. Favourites like ‘Oakie Boogie’ and ‘Drinking Wine Spo-dee-o-dee represented a seamless transition from the jazzy sound to a mid-to-late 40’s Western swing resonance, and then some jump jive with ‘Ain’t Got No Home’. Super stuff.
A great mix of music, a blend of styles from different eras, in fact something for everyone who attended. Let’s hope that the Juniper Fayre will be able to build on this event, without the obstacle of a major pandemic, and increase it’s success of this very impressive opening event. Gallery images below, click on them for full sized pics
No complaints to Lodge 😊 .
In a week that had seen four events we had on our radar, cancelled, we were on hot bricks hoping that our first visit to Nottingham’s Oakleigh Lodge Rock n Roll Club, wouldn’t also become a victim. Their first indoor biggie back from Covid restrictions, was a real beauty, with the Metrotones.
The actual venue is a good one, spacious, sizeable dancefloor and plenty of seating. The only slightly odd thing for us, being the driving distance away we were, was having an alarm clock to get up and ready for a mid-morning event! The 11am start was clearly conducive to most given the numbers that had shown up as we arrived. DJ for the day, Clive Hodgson’s Red Planet Rock Record Hop, with boxes of chunky vinyl, who always brings out tracks that jog your memory, or indeed introduce you to something new. Nostalgic ‘hang-on-a-minute’ track this time for me was the Flairs 1954 gem ‘Love Me Girl’, among others.
The hall was extremely well populated by the time the Metrotones took to the stage, with your four instantly recognisable vocalists Dave Tonner, Jonathan Pannaman, Paul Solomons and Den Hegarty, looking sharp in their black and blue jackets (someone missed the brief on the shirts but who noticed……) . They didn’t go for anything softly softly to warm up with, starting with the up tempo, feel-good ‘Let’s Fall In Love’, which I guess most would associate with the 1957 version by The Willows. More Willows music next with the nuptials within ‘Church Bells May Ring’.
The quality of the material and the delivery was maintained with supercool takes on the Calvanes ‘Crazy Over You’, the Drifters ‘Drip Drop’ with additional H20 action from Den, and the Five Keys ‘It’s a Groove’. The vocal harmonies were spot on for the ballad ‘You Belong To Me’, associated in the Smith senior household with Jo Stafford (1952) although I’d suggest this rendition owes more to the Duprees in ’58. Most audiences who have encountered the Metrotones before, would expect ‘Hey Rube’ to be accompanied by bass vocalist Den, scaling tables, sitting on people’s laps and serenading the ladies. Due to, yes you’ve guessed it, Covid, that was not deemed appropriate this time, however it’s always a treat to hear the Rocketeers/The Flannels/whomsoever semi-novelty track.
Tracks like ‘Fools Fall In Love’ and ‘Goody Goody’ contrasted with the touching ‘In the Still of the Night’ a million seller from the Five Satins in 1956. Super stuff in the first set.
Set two began with an instrumental intro. Whether your preference is for Alan Freed’s or the Squadronaires versions of Freddie Mitchell’s ‘Moondog Boogie’ as ‘Rock ‘n’ Roll Boogie’, you’d have appreciated this version. The vocals commenced again with the Hollywood Flames’ ‘Buzz Buzz Buzz’, complemented by the likes of the Carnations’ ‘Long Tall Girl’, The Genies ‘Who’s That Knocking’ and Nappy Brown’s ‘Don’t Be Angry’. Another tip top ballad got the Metrotone treatment ‘The Way You Look Tonight’. This Jerome Kern composition was covered many times, I’m guessing that the Jaguars 1956 rendition was the influence for the ‘Tones.
Then we had the Clovers’ semi-sarcastic ‘Your Cash Ain’t Nothing But Trash’, Curtis Lee’s ‘Pretty Little Eyes’ (don’t you dare mention the ‘Wad to a Dart….. 1970’s based joke kids, ask your parents/grandparents) and a top drawer recitation of ‘Little Bitty Pretty One’. After the Del Vikings’ ‘Come Go With Me’ and the instrumental outro, the audience called them back for an encore. That took the shape of ’45 Men in a Telephone Booth’ and the Spaniels super smooth ‘Goodnite Sweetheart Goodnite’.
Massive kudos to Terry Goldhawk, Cliff Archer and the team for putting on such a doo-wop dream as their first event back from Covid restrictions. The Metrotones continue to be the benchmark, both musically and vocally, for British doo-wop, and despite the extended period of inactivity, this show was a real treat. The club are now giving new bands a chance to play there as well as the more established ones, so if that's you, check out their FB page and throw your band's hat in the ring.
Oakleigh Lodge Rock'n'Roll Club | Facebook
Slideshow pics below
In a week that had seen four events we had on our radar, cancelled, we were on hot bricks hoping that our first visit to Nottingham’s Oakleigh Lodge Rock n Roll Club, wouldn’t also become a victim. Their first indoor biggie back from Covid restrictions, was a real beauty, with the Metrotones.
The actual venue is a good one, spacious, sizeable dancefloor and plenty of seating. The only slightly odd thing for us, being the driving distance away we were, was having an alarm clock to get up and ready for a mid-morning event! The 11am start was clearly conducive to most given the numbers that had shown up as we arrived. DJ for the day, Clive Hodgson’s Red Planet Rock Record Hop, with boxes of chunky vinyl, who always brings out tracks that jog your memory, or indeed introduce you to something new. Nostalgic ‘hang-on-a-minute’ track this time for me was the Flairs 1954 gem ‘Love Me Girl’, among others.
The hall was extremely well populated by the time the Metrotones took to the stage, with your four instantly recognisable vocalists Dave Tonner, Jonathan Pannaman, Paul Solomons and Den Hegarty, looking sharp in their black and blue jackets (someone missed the brief on the shirts but who noticed……) . They didn’t go for anything softly softly to warm up with, starting with the up tempo, feel-good ‘Let’s Fall In Love’, which I guess most would associate with the 1957 version by The Willows. More Willows music next with the nuptials within ‘Church Bells May Ring’.
The quality of the material and the delivery was maintained with supercool takes on the Calvanes ‘Crazy Over You’, the Drifters ‘Drip Drop’ with additional H20 action from Den, and the Five Keys ‘It’s a Groove’. The vocal harmonies were spot on for the ballad ‘You Belong To Me’, associated in the Smith senior household with Jo Stafford (1952) although I’d suggest this rendition owes more to the Duprees in ’58. Most audiences who have encountered the Metrotones before, would expect ‘Hey Rube’ to be accompanied by bass vocalist Den, scaling tables, sitting on people’s laps and serenading the ladies. Due to, yes you’ve guessed it, Covid, that was not deemed appropriate this time, however it’s always a treat to hear the Rocketeers/The Flannels/whomsoever semi-novelty track.
Tracks like ‘Fools Fall In Love’ and ‘Goody Goody’ contrasted with the touching ‘In the Still of the Night’ a million seller from the Five Satins in 1956. Super stuff in the first set.
Set two began with an instrumental intro. Whether your preference is for Alan Freed’s or the Squadronaires versions of Freddie Mitchell’s ‘Moondog Boogie’ as ‘Rock ‘n’ Roll Boogie’, you’d have appreciated this version. The vocals commenced again with the Hollywood Flames’ ‘Buzz Buzz Buzz’, complemented by the likes of the Carnations’ ‘Long Tall Girl’, The Genies ‘Who’s That Knocking’ and Nappy Brown’s ‘Don’t Be Angry’. Another tip top ballad got the Metrotone treatment ‘The Way You Look Tonight’. This Jerome Kern composition was covered many times, I’m guessing that the Jaguars 1956 rendition was the influence for the ‘Tones.
Then we had the Clovers’ semi-sarcastic ‘Your Cash Ain’t Nothing But Trash’, Curtis Lee’s ‘Pretty Little Eyes’ (don’t you dare mention the ‘Wad to a Dart….. 1970’s based joke kids, ask your parents/grandparents) and a top drawer recitation of ‘Little Bitty Pretty One’. After the Del Vikings’ ‘Come Go With Me’ and the instrumental outro, the audience called them back for an encore. That took the shape of ’45 Men in a Telephone Booth’ and the Spaniels super smooth ‘Goodnite Sweetheart Goodnite’.
Massive kudos to Terry Goldhawk, Cliff Archer and the team for putting on such a doo-wop dream as their first event back from Covid restrictions. The Metrotones continue to be the benchmark, both musically and vocally, for British doo-wop, and despite the extended period of inactivity, this show was a real treat. The club are now giving new bands a chance to play there as well as the more established ones, so if that's you, check out their FB page and throw your band's hat in the ring.
Oakleigh Lodge Rock'n'Roll Club | Facebook
Slideshow pics below
Dallas Roots Combo
R-Ockbrook.
I’ll be honest readers, we were going to hold this review until next month, but as we had a day left before uploading, and it was a great time, we thought we’d nudge it in for you. The village of Ockbrook is situated about five miles east, from Derby, and the Royal Oak hosts a Rock ‘n’ Roll all dayer annually on the premises. The main organiser is Shaun Hoolan, who with his team, put on two live bands and four DJs spinning the wax for around eight hours in the car park.
Mercifully once again the weather was kind, if not particularly warm, but the music was hot throughout. With that in mind, dispatch style mentions to DJs Garry ‘Tiny’ Morley, Craig Simpson, Be-Bop Kaz Fowler, Ricky Bean and Stephen Airlie. Much vinyl, and some shellac, and a huge selection of diverse Rock n Roll, Rockabilly and R&B. The beauty of this type of event, is each DJ is able to bring their own style with the freedom of hour-long sets, and as a listener, we get to hear stuff that in some cases, we’d not heard before.
The first of the two bands were the Dallas Roots Combo, who we last saw at the Rockabilly Rave in 2019. This four-piece have a super sound as they delve into a play list of classic Rockabilly tunes, as well as their own material, and deliver them in the finest style. You can’t go wrong with Carl Perkins tracks and it was the ’56 cut ‘You Can’t Make Love To Somebody’ that set the tone for the show.
‘Uranium Rock’ and ‘Come On’ rocked before the strollers came out for Jack Scott’s ‘Two Timin’ Woman’. Good to hear both sides of their 2014 single, ‘No Name on my Bullet’ and ‘Sugar Sweet’, and indeed the version of Maynard Horlick’s ’57 obscurity ‘Do The Bop Bop Bop’. Dallas Arthur Roots is an accomplished vocalist and rhythm guitarist, sounding en pointe in ‘Sugarbabe’, ‘Wildkat’ and ‘Blue Eyed Blues’. Much deserved encore call and they went out on a particular high, blasting out Larry Donn’s ‘Honey Bunn’.
I’ll be honest readers, we were going to hold this review until next month, but as we had a day left before uploading, and it was a great time, we thought we’d nudge it in for you. The village of Ockbrook is situated about five miles east, from Derby, and the Royal Oak hosts a Rock ‘n’ Roll all dayer annually on the premises. The main organiser is Shaun Hoolan, who with his team, put on two live bands and four DJs spinning the wax for around eight hours in the car park.
Mercifully once again the weather was kind, if not particularly warm, but the music was hot throughout. With that in mind, dispatch style mentions to DJs Garry ‘Tiny’ Morley, Craig Simpson, Be-Bop Kaz Fowler, Ricky Bean and Stephen Airlie. Much vinyl, and some shellac, and a huge selection of diverse Rock n Roll, Rockabilly and R&B. The beauty of this type of event, is each DJ is able to bring their own style with the freedom of hour-long sets, and as a listener, we get to hear stuff that in some cases, we’d not heard before.
The first of the two bands were the Dallas Roots Combo, who we last saw at the Rockabilly Rave in 2019. This four-piece have a super sound as they delve into a play list of classic Rockabilly tunes, as well as their own material, and deliver them in the finest style. You can’t go wrong with Carl Perkins tracks and it was the ’56 cut ‘You Can’t Make Love To Somebody’ that set the tone for the show.
‘Uranium Rock’ and ‘Come On’ rocked before the strollers came out for Jack Scott’s ‘Two Timin’ Woman’. Good to hear both sides of their 2014 single, ‘No Name on my Bullet’ and ‘Sugar Sweet’, and indeed the version of Maynard Horlick’s ’57 obscurity ‘Do The Bop Bop Bop’. Dallas Arthur Roots is an accomplished vocalist and rhythm guitarist, sounding en pointe in ‘Sugarbabe’, ‘Wildkat’ and ‘Blue Eyed Blues’. Much deserved encore call and they went out on a particular high, blasting out Larry Donn’s ‘Honey Bunn’.
Ellie doing 'Rock and Roll'
The Tex Speed Combo, from Manchester, if ever there was the Rockabilly equivalent of ‘jumping in with both feet’, it’s this combo. Is there a playlist? If there is, will they stick to it? Who knows? Who cares? No one if you were in the audience as evening turned to night. A bit of the drum kit fell apart, then the lead guitar cut out, and lead singer, Mark Ellington (Ellie to just about everyone in the crowd) sang a song about cake, to the rhythm of Johnny Cash’s ‘Ballad of a Teenage Queen’. Oh and of course, the ad-libbed solo while the knobs were being twiddled with in the background, about the people of Ockbrook coming out to the all dayer. In amongst that chaotic soup, we also got some pretty tidy songs.
Taking Bob Luman’s ‘This is the Night’ for example, that was the opener, which rattled along, just like Vic Gallon’s ‘I’m Gone’. Johnny Horton’s ‘I’m a Honky Tonk Man’ got the Tex Speed treatment, as did the powerhouse that is ‘Lights Out Baby’. Paul Murphy’s no nonsense lead guitar filled the night, ably backed by Andy Zikez on bass and the thunderous enthusiasm of Paul O’Donnell on drums. Great to hear the ‘A’ side of the single ‘Sal My Gal’ too.
‘Green River and ‘Mary Anne’ rocked before Ellie, set aside the rhythm guitar in favour of harmonica for Gene’s ’66 cracker ‘Bird Doggin’. Another flag would be Carl Perkins ‘Her Love Rubbed Off’, well suited to the Tex Speed style. Just outstanding stuff from the lads.
Top day out in Derbyshire (Click gallery pics for slideshow)
Taking Bob Luman’s ‘This is the Night’ for example, that was the opener, which rattled along, just like Vic Gallon’s ‘I’m Gone’. Johnny Horton’s ‘I’m a Honky Tonk Man’ got the Tex Speed treatment, as did the powerhouse that is ‘Lights Out Baby’. Paul Murphy’s no nonsense lead guitar filled the night, ably backed by Andy Zikez on bass and the thunderous enthusiasm of Paul O’Donnell on drums. Great to hear the ‘A’ side of the single ‘Sal My Gal’ too.
‘Green River and ‘Mary Anne’ rocked before Ellie, set aside the rhythm guitar in favour of harmonica for Gene’s ’66 cracker ‘Bird Doggin’. Another flag would be Carl Perkins ‘Her Love Rubbed Off’, well suited to the Tex Speed style. Just outstanding stuff from the lads.
Top day out in Derbyshire (Click gallery pics for slideshow)
All of the gigs had something in common this month. Yes, the music, and indeed the records and dancing, but above all the reuniting of friends who haven’t seen each other for a year and a half. The joy and almost palpable relief as folk met up, was heartening. Long may that continue.
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Check out the Nobster's new event for 2021, and then read the reviews of his latest CDs below. Click flyers for details
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cd reviews
Nobster’s Beats – Spicy Gravy Vol 2
The second record from The Nobster in this month’s review, is the second in his ‘Beats’ series. In this case, he’s done all the mixing, mastering and artwork himself, from the mysterious and enigmatic ‘Shack’.
We open up with Los Shains’ ‘Apache 66’. This band hailed from Peru, and research suggests they are still active. I’m usually a little apprehensive of remakes of classic tracks, but this is a good one folks, with a sixties twist. Originally it was on the ‘B’ side of the frantic and somewhat unhinged ‘El Baile Del Pajaro Tablista’ which Google tells me is the ‘Dance of the Tablist Bird’. An already established dance floor winner is up next with Joe Melson’s version of ‘Wake Up Little Susie’, the Boudleaux and Felice Bryant classic made famous by the Everly Brothers. It was a ‘B’ side on Hickory Records (yes that one) in 1961
Another classic reworked next with Carl Mann’s take on Fats Domino’s ‘Blueberry Hill’. This is from 1961, on Sun Records, and I might suggest that you’ll hear this a lot more than the original, as it has a catchy jive rhythm. It’s back to the mid-60’s and the Henchmen’s heavier take on ‘Rockin’ Robin’, from 1964/5. They were an Australian band and recorded on the now defunct Go!! Label.
An outstanding rocker is up next, Tommy Danton and the Echoes’ ‘Twenty One’. This Canadian band hit the high and goldens with this jiver just right for late night crowded halls! ‘Recorded In England’ by Rod Bernard, who we only lost in July 2020, aged 79, was one of the pioneering ‘Swamp pop’ artists. This has the feel of Chuck Berry, although citing several places in England. Pretty cool rocker from 1965 this one.
The Del Satins were a vocal group that backed the likes of Dion, and were most active in the early 60’s. ‘Feeling No Pain’ from ‘63certainly has the Dion feel to the vocal style and tempo. That’s followed by Marlin Green’s ‘Never Been Kissed’. He was a big part of the Muscle Shoals music scene/sound (Muscle Shoals being the largest city in Colbert County, Alabama). This tune is a jolly rock-along tune, from ’58, with an infectious hook-lyric.
Mike Pedicin’s ‘Burnt Toast and Black Coffee’ has almost eclipsed his other material on the music circuit. This offering ‘St James Infirmary’ is a much pacier song that lasts less than two minutes, and has strains of ‘Minnie The Moocher’ in it. A lot going on in 1.47!. Prolific drummer and session musician, Sandy Nelson, pitches in next with a 1960 version of the kicking sax and brass rocker ‘All Night Long’ with his trademark thundering drum beat.
Jerry Byrne’s ‘Carry On’ was the third and final single he recorded for Specialty Records. Two joyous minutes of piano and sax rock ‘n’ roll. Excellent stuff. The output of Smokey Armen and the Schooners seems to be limited to two variations of the same release, that also appears to be the sole release on the Peek-A-Boo label. ‘Baby What Am I Gonna Do’ is a delightful jive tempo, which makes you consider why there was no career beyond this 1958 wonder.
American Country music singer, Winford Linsey (Wynn) Stewart’s (1934-85) fourth release on Challenge Records, was his top ten Country hit ‘Wishful Thinking’ in 1959. On the flip this novelty rocker, ‘Uncle Tom Got Caught’, full of sage advice regarding certain dalliances…
Gus Backus was a member of the Del Vikings, and embarked on a solo career, that was particularly successful in Germany, and ‘Short On Love’ netted him chart achievement in 1963. I think this type of music was known as ‘Schlager’, and if your not sure what that sounds like, check this out. One of the finest British rockin’ beat bands around right now are the Rapiers. Here they are, with a sublime take on Mike Sagar and the Cresters’ ‘Deep Feeling’ originally from 1960. I’ll go out on a limb here readers and suggest that this surpasses the original.
The Floyd Dakil Four’s final release of the mid ‘60’s on Earth Records, was ‘Kitty Kitty’ featured here. Oft best recalled for the compiler’s favourite ‘Dance Franny Dance’, this tune stands shoulder to shoulder with that. Interesting that Dakil became Louis Prima’s guitarist in the late 60’s too. Cool track. Steve Alaimo, had eight singles on the Billboard chart, but never a top forty hit. ‘Every Day I Have To Cry Some’ is a typical early sixties teen idol track, which has nuances of country and Tex Mex.
I don’t know anything about the Cobras in this context of this album, other than this ace instrumental ‘Ghoulash’ (which sends the spellchecker into a tailspin!). It’s a surfy, shadowy sounding stroll beat, mean and moody on guitar. Roy Orbison’s back catalogue is huge, and there’s a wealth of tracks anyone could pick for a compilation such as this. We have ‘Mean Little Mama’, but with a harmonica mimicking the guitar solo. This is the rarer of the versions of the song. More feline references with Sonny Hines’ ‘Has Anyone Seen My Kitty’, a bluesy and soulful sounding tune, that is about a missing cat……….I think….
Maureen Gray (1948 – 2014) is an artist new to us. She was a from Queens, New York, and a child prodigy. She was a singer, guitarist and keyboard player, and ‘Come on and Dance’ is a jubilant doo-wop ditty. A stroll theme next with ‘Hey Then There Now’ by Jackie Burns, one of, what seems to be, his only two singles. This is an ‘A’ side from 1958, on Del-Fi records, which with the ‘B’ side, is a pretty handy twin spin. ‘Little Miss Tease’ by Jerry Wallace, was written by Dave Burgess, who was guitarist with the Champs. This upbeat tune from ’62, comes from an artist who had a prolific career from 1953 through the 70’s.
Buster Brown pitches up next with the ‘B’ side to his biggest hit ‘Fannie Mae’. ‘Lost in a Dream’ is a cool blues stroll tune from the end of ’59. Some vintage garage guitar driven rocking next with the Lancers ‘My Little Girl’. This band was from Lynchburg, Virginia, and recorded this in 1964, apparently on a 300-copy press run. You don’t need a lottery win to hear it though, it’s here.
I’ll be honest readers, I thought we pretty much knew everything by Bill Haley and the Comets, but Nobster slips in ‘Train of Sin’ from 1964. This appears to be an LP cut from the Guest Star Recprd label of Newark NJ. It’s pretty good mid tempo jive beat, and will probably rub shoulders with some of Haley’s already established tunes in DJ boxes. ‘Run Run Little Billy’ by Barry Darvell (nee Peregoy) from ’63 is another teen idol sounding track, again with relationship advice set to a smooth rhythm. Joe Melson in addition to his version of ‘Wake Up Little Susie’ here, has the equal of that tune ‘Shook Up’. Singer-songwriter Melson teamed up a lot with Roy Orbison in his career and they both have a writing credit on this jewel of a jiver. Nick Todd’s real name is Cecil Altman Boone, the younger brother of Pat. He changed his name to Todd at the request of his label, Dot Records. So in essence, it’s ‘Dot’ backwards. ‘Too Much Rosita’ isn’t one of his best known, it was a ‘B’ side, and it’s not the most PC of songs by today’s standards.
We end with a ‘Peter Gunn Twist’ a blaring sax take on the original, from the Rebel Rousers’ (seemingly) only single release in 1962. It draws to a close a wonderfully diverse selection of songs and instrumentals from across the board. There are nuggets of brilliance that, if it were not for DJs like Nobster, would remain hidden. So massive respect for his diligence, and perseverance, in bringing this fine collection out on CD
The second record from The Nobster in this month’s review, is the second in his ‘Beats’ series. In this case, he’s done all the mixing, mastering and artwork himself, from the mysterious and enigmatic ‘Shack’.
We open up with Los Shains’ ‘Apache 66’. This band hailed from Peru, and research suggests they are still active. I’m usually a little apprehensive of remakes of classic tracks, but this is a good one folks, with a sixties twist. Originally it was on the ‘B’ side of the frantic and somewhat unhinged ‘El Baile Del Pajaro Tablista’ which Google tells me is the ‘Dance of the Tablist Bird’. An already established dance floor winner is up next with Joe Melson’s version of ‘Wake Up Little Susie’, the Boudleaux and Felice Bryant classic made famous by the Everly Brothers. It was a ‘B’ side on Hickory Records (yes that one) in 1961
Another classic reworked next with Carl Mann’s take on Fats Domino’s ‘Blueberry Hill’. This is from 1961, on Sun Records, and I might suggest that you’ll hear this a lot more than the original, as it has a catchy jive rhythm. It’s back to the mid-60’s and the Henchmen’s heavier take on ‘Rockin’ Robin’, from 1964/5. They were an Australian band and recorded on the now defunct Go!! Label.
An outstanding rocker is up next, Tommy Danton and the Echoes’ ‘Twenty One’. This Canadian band hit the high and goldens with this jiver just right for late night crowded halls! ‘Recorded In England’ by Rod Bernard, who we only lost in July 2020, aged 79, was one of the pioneering ‘Swamp pop’ artists. This has the feel of Chuck Berry, although citing several places in England. Pretty cool rocker from 1965 this one.
The Del Satins were a vocal group that backed the likes of Dion, and were most active in the early 60’s. ‘Feeling No Pain’ from ‘63certainly has the Dion feel to the vocal style and tempo. That’s followed by Marlin Green’s ‘Never Been Kissed’. He was a big part of the Muscle Shoals music scene/sound (Muscle Shoals being the largest city in Colbert County, Alabama). This tune is a jolly rock-along tune, from ’58, with an infectious hook-lyric.
Mike Pedicin’s ‘Burnt Toast and Black Coffee’ has almost eclipsed his other material on the music circuit. This offering ‘St James Infirmary’ is a much pacier song that lasts less than two minutes, and has strains of ‘Minnie The Moocher’ in it. A lot going on in 1.47!. Prolific drummer and session musician, Sandy Nelson, pitches in next with a 1960 version of the kicking sax and brass rocker ‘All Night Long’ with his trademark thundering drum beat.
Jerry Byrne’s ‘Carry On’ was the third and final single he recorded for Specialty Records. Two joyous minutes of piano and sax rock ‘n’ roll. Excellent stuff. The output of Smokey Armen and the Schooners seems to be limited to two variations of the same release, that also appears to be the sole release on the Peek-A-Boo label. ‘Baby What Am I Gonna Do’ is a delightful jive tempo, which makes you consider why there was no career beyond this 1958 wonder.
American Country music singer, Winford Linsey (Wynn) Stewart’s (1934-85) fourth release on Challenge Records, was his top ten Country hit ‘Wishful Thinking’ in 1959. On the flip this novelty rocker, ‘Uncle Tom Got Caught’, full of sage advice regarding certain dalliances…
Gus Backus was a member of the Del Vikings, and embarked on a solo career, that was particularly successful in Germany, and ‘Short On Love’ netted him chart achievement in 1963. I think this type of music was known as ‘Schlager’, and if your not sure what that sounds like, check this out. One of the finest British rockin’ beat bands around right now are the Rapiers. Here they are, with a sublime take on Mike Sagar and the Cresters’ ‘Deep Feeling’ originally from 1960. I’ll go out on a limb here readers and suggest that this surpasses the original.
The Floyd Dakil Four’s final release of the mid ‘60’s on Earth Records, was ‘Kitty Kitty’ featured here. Oft best recalled for the compiler’s favourite ‘Dance Franny Dance’, this tune stands shoulder to shoulder with that. Interesting that Dakil became Louis Prima’s guitarist in the late 60’s too. Cool track. Steve Alaimo, had eight singles on the Billboard chart, but never a top forty hit. ‘Every Day I Have To Cry Some’ is a typical early sixties teen idol track, which has nuances of country and Tex Mex.
I don’t know anything about the Cobras in this context of this album, other than this ace instrumental ‘Ghoulash’ (which sends the spellchecker into a tailspin!). It’s a surfy, shadowy sounding stroll beat, mean and moody on guitar. Roy Orbison’s back catalogue is huge, and there’s a wealth of tracks anyone could pick for a compilation such as this. We have ‘Mean Little Mama’, but with a harmonica mimicking the guitar solo. This is the rarer of the versions of the song. More feline references with Sonny Hines’ ‘Has Anyone Seen My Kitty’, a bluesy and soulful sounding tune, that is about a missing cat……….I think….
Maureen Gray (1948 – 2014) is an artist new to us. She was a from Queens, New York, and a child prodigy. She was a singer, guitarist and keyboard player, and ‘Come on and Dance’ is a jubilant doo-wop ditty. A stroll theme next with ‘Hey Then There Now’ by Jackie Burns, one of, what seems to be, his only two singles. This is an ‘A’ side from 1958, on Del-Fi records, which with the ‘B’ side, is a pretty handy twin spin. ‘Little Miss Tease’ by Jerry Wallace, was written by Dave Burgess, who was guitarist with the Champs. This upbeat tune from ’62, comes from an artist who had a prolific career from 1953 through the 70’s.
Buster Brown pitches up next with the ‘B’ side to his biggest hit ‘Fannie Mae’. ‘Lost in a Dream’ is a cool blues stroll tune from the end of ’59. Some vintage garage guitar driven rocking next with the Lancers ‘My Little Girl’. This band was from Lynchburg, Virginia, and recorded this in 1964, apparently on a 300-copy press run. You don’t need a lottery win to hear it though, it’s here.
I’ll be honest readers, I thought we pretty much knew everything by Bill Haley and the Comets, but Nobster slips in ‘Train of Sin’ from 1964. This appears to be an LP cut from the Guest Star Recprd label of Newark NJ. It’s pretty good mid tempo jive beat, and will probably rub shoulders with some of Haley’s already established tunes in DJ boxes. ‘Run Run Little Billy’ by Barry Darvell (nee Peregoy) from ’63 is another teen idol sounding track, again with relationship advice set to a smooth rhythm. Joe Melson in addition to his version of ‘Wake Up Little Susie’ here, has the equal of that tune ‘Shook Up’. Singer-songwriter Melson teamed up a lot with Roy Orbison in his career and they both have a writing credit on this jewel of a jiver. Nick Todd’s real name is Cecil Altman Boone, the younger brother of Pat. He changed his name to Todd at the request of his label, Dot Records. So in essence, it’s ‘Dot’ backwards. ‘Too Much Rosita’ isn’t one of his best known, it was a ‘B’ side, and it’s not the most PC of songs by today’s standards.
We end with a ‘Peter Gunn Twist’ a blaring sax take on the original, from the Rebel Rousers’ (seemingly) only single release in 1962. It draws to a close a wonderfully diverse selection of songs and instrumentals from across the board. There are nuggets of brilliance that, if it were not for DJs like Nobster, would remain hidden. So massive respect for his diligence, and perseverance, in bringing this fine collection out on CD
Rumble on the Rock Eruption – Various Artists CD review
Ahead of the Rumble on the Rock event scheduled for 4th to the 8th November 2021, The Nobster has taken his roster of DJs and had them pick some hot tracks for this top compilation. And boy there are some beauties in among this lot. Some DJs have a couple of selections, starting with Nobster himself who bookends the release with a brace of classics.
The Moonlighters haunting ‘Broken Heart’ from 1958 starts it off and Billy Jack Hales’ ‘Danger Moved West’ bop beat, on the prolific (50’s & 60’s) Texas based ‘D’ label rounding everything off. Ian Strop of Strop’s Hop get maximum points for two aces. Little Junior Parker’s cut from ’53, is a superb bop beat set to a heartfelt blues vocal, paradoxically for a blues song, extolling the virtues of ‘Feelin’ Good’. His second choice, well is there a better Rockabilly song than ‘Jitterbop Baby’ by Hal Harris? (rhetorical question). The Ace 45 reissue was, and still is, a must have, and should be part of the national curriculum in schools.
There’s just a single contribution from Adam Classic, who has chosen ‘Baby What Am I Gonna Do’. There’s not much about the band, Smokey Armen and the Schooners, or indeed the Peek-a-boo label from Newark NJ on which it originally appeared. Andy ‘Roadoiler’ Stevenson pitches in with a pair of monster instrumentals starting with Mickey Hawkes and the Nightraiders’ ‘Cotton Pickin’ which was the flip to a storming 45 from 1959, with ‘Hidi Hidi Hidi’ on the ‘A’ side. His second choice is from 1961, and is a sax wailing, hand-clapping, mid-tempo rocker.
We had a sense of nostalgia with Swanny’s first selection, ‘Lovin’ Bug’. Dale Hawkins’ top drawer rock-out, from the seminal classic LP Chess Rockabillies. His second choice is ‘Rockhouse’, the Bobby Fuller take on the track most familiar by Roy Orbison. David Woodfield’s picks start with Little Abner’s ‘Not Here, Not There’, a super cool rocking jiver and Roy Moss’ ‘You Don’t Know My Mind’ which is a great slice of Rockabilly from 1956. Dee Jay Danny weighs in with Jackie Dallas and the Tiaras’ ‘All I Want’, which is a Buddy Holly sound-a-like song from 1965, and it appears to be the band’s only single release. Also Danny hits the high spots with Donnie Nix’s ‘Ain’t About To Go Home’, a mid-sixties surf-garage kicker.
To Brummi Si next with Sonny Burgess’ outstanding ‘Wings Of An Angel (aka The Prisoner’s Song)’. There are two versions of this song and this is the up-tempo dancefloor one, which Si has paired with Gene Wyatt’s floor filling bopper ‘Lover Boy’ from ’57. ‘Kerry Piper’s Rock’ is the first choice of Kevin Padilla. This instrumental track from ’59 was on the ‘B’ side of the band’s penultimate single release. His other selection is Bobby Lee Trammell’s ‘I Need Love’ which has a frantic vocal set to a beat and rhythm akin to ‘What’d I Say’.
Germany’s Rob Popp offers a couple of stunners, with Tommy Lam’s desperate sounding ‘Speed Limit’ from 1959 and the stripped back sound of Sonny Starns and ‘Tangi-Paho’, a song about an area east of Baton Rouge, Louisiana (the subject of the flip side of the single release) set to the most infectious dance floor beat. DJ Deano comes up with Al Dexter’s novelty Western Swing number from 1950, ‘Diddy Wah Boogie’, and no, we don’t know what it means either. Second choice, some top vocals on the Harptones’ ‘Gimme Some’, a jive winner from 1956. ‘Second and San Antone’ by Earl Ball, is El Lagran’s first offering, a Country/Rock song from 1967, I don’t think we’ve heard before. The other offering is the instrumental cracker ‘Don’t Call Me Flyface’ from 1964, by the curiously name Reekers. This tune based on a Dick Tracy villain, is a surf-drum driven favourite on many a dance floor, and has been for over a decade.
Sheffield spinner, Ricky Bean’s brace starts with the enigmatic ‘Shake It Up And Move’, a powerhouse raw and ready Rockabilly bopper. Darryl Vincent’s ‘Wild Wild Party’ from ’59 appears to be his only single on Sandy Records, but it’s a piano driven beauty. Finally just a single contribution for the event’s MC Lady Luck Lexy. She’s gone with a ginormous jiver , ‘Why’ from the Cues. A backing band for Atlantic Records they accompanied LaVern Baker, Joe Turner, Ruth Brown and Ivory Joe Hunter. Here’s probably their best known track in their own right.
Twenty six gems from the vaults and all on one CD release. Highly recommended
Ahead of the Rumble on the Rock event scheduled for 4th to the 8th November 2021, The Nobster has taken his roster of DJs and had them pick some hot tracks for this top compilation. And boy there are some beauties in among this lot. Some DJs have a couple of selections, starting with Nobster himself who bookends the release with a brace of classics.
The Moonlighters haunting ‘Broken Heart’ from 1958 starts it off and Billy Jack Hales’ ‘Danger Moved West’ bop beat, on the prolific (50’s & 60’s) Texas based ‘D’ label rounding everything off. Ian Strop of Strop’s Hop get maximum points for two aces. Little Junior Parker’s cut from ’53, is a superb bop beat set to a heartfelt blues vocal, paradoxically for a blues song, extolling the virtues of ‘Feelin’ Good’. His second choice, well is there a better Rockabilly song than ‘Jitterbop Baby’ by Hal Harris? (rhetorical question). The Ace 45 reissue was, and still is, a must have, and should be part of the national curriculum in schools.
There’s just a single contribution from Adam Classic, who has chosen ‘Baby What Am I Gonna Do’. There’s not much about the band, Smokey Armen and the Schooners, or indeed the Peek-a-boo label from Newark NJ on which it originally appeared. Andy ‘Roadoiler’ Stevenson pitches in with a pair of monster instrumentals starting with Mickey Hawkes and the Nightraiders’ ‘Cotton Pickin’ which was the flip to a storming 45 from 1959, with ‘Hidi Hidi Hidi’ on the ‘A’ side. His second choice is from 1961, and is a sax wailing, hand-clapping, mid-tempo rocker.
We had a sense of nostalgia with Swanny’s first selection, ‘Lovin’ Bug’. Dale Hawkins’ top drawer rock-out, from the seminal classic LP Chess Rockabillies. His second choice is ‘Rockhouse’, the Bobby Fuller take on the track most familiar by Roy Orbison. David Woodfield’s picks start with Little Abner’s ‘Not Here, Not There’, a super cool rocking jiver and Roy Moss’ ‘You Don’t Know My Mind’ which is a great slice of Rockabilly from 1956. Dee Jay Danny weighs in with Jackie Dallas and the Tiaras’ ‘All I Want’, which is a Buddy Holly sound-a-like song from 1965, and it appears to be the band’s only single release. Also Danny hits the high spots with Donnie Nix’s ‘Ain’t About To Go Home’, a mid-sixties surf-garage kicker.
To Brummi Si next with Sonny Burgess’ outstanding ‘Wings Of An Angel (aka The Prisoner’s Song)’. There are two versions of this song and this is the up-tempo dancefloor one, which Si has paired with Gene Wyatt’s floor filling bopper ‘Lover Boy’ from ’57. ‘Kerry Piper’s Rock’ is the first choice of Kevin Padilla. This instrumental track from ’59 was on the ‘B’ side of the band’s penultimate single release. His other selection is Bobby Lee Trammell’s ‘I Need Love’ which has a frantic vocal set to a beat and rhythm akin to ‘What’d I Say’.
Germany’s Rob Popp offers a couple of stunners, with Tommy Lam’s desperate sounding ‘Speed Limit’ from 1959 and the stripped back sound of Sonny Starns and ‘Tangi-Paho’, a song about an area east of Baton Rouge, Louisiana (the subject of the flip side of the single release) set to the most infectious dance floor beat. DJ Deano comes up with Al Dexter’s novelty Western Swing number from 1950, ‘Diddy Wah Boogie’, and no, we don’t know what it means either. Second choice, some top vocals on the Harptones’ ‘Gimme Some’, a jive winner from 1956. ‘Second and San Antone’ by Earl Ball, is El Lagran’s first offering, a Country/Rock song from 1967, I don’t think we’ve heard before. The other offering is the instrumental cracker ‘Don’t Call Me Flyface’ from 1964, by the curiously name Reekers. This tune based on a Dick Tracy villain, is a surf-drum driven favourite on many a dance floor, and has been for over a decade.
Sheffield spinner, Ricky Bean’s brace starts with the enigmatic ‘Shake It Up And Move’, a powerhouse raw and ready Rockabilly bopper. Darryl Vincent’s ‘Wild Wild Party’ from ’59 appears to be his only single on Sandy Records, but it’s a piano driven beauty. Finally just a single contribution for the event’s MC Lady Luck Lexy. She’s gone with a ginormous jiver , ‘Why’ from the Cues. A backing band for Atlantic Records they accompanied LaVern Baker, Joe Turner, Ruth Brown and Ivory Joe Hunter. Here’s probably their best known track in their own right.
Twenty six gems from the vaults and all on one CD release. Highly recommended
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Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services as well with your advert. We will be emailing many of you in this regard too.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now.
As we may be able to get out and about soon, if you want us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. Keep up to date with us here, or on our various platforms:-
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email:- [email protected]
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Cheers 'til next month
Andrew and June
We will continue to bring you CD and record reviews and our big interviews, it's our 21st next time.
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now.
As we may be able to get out and about soon, if you want us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
We will continue to bring you CD and record reviews and our big interviews, it's our 21st next time.
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
