the bettajive review magazine #21
The Houserockers reviewed below
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The Lah Di Dahs close harmony show reviewed
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Welcome everyone, and particularly everyone who has been with us from the start. Yes we are now twenty one, key of the door and all that. My goodness haven't we come through a lot, and there's still a way to go. This month, once again we have turned our magazine over to the live events that we've been to since last issue, and we continue to support clubs and events as much as we can
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
Yes, YOU!
The Bettajive Review
Will Patrons kindly refrain from…. How times and attitudes change readers. So much ‘elf n safety’, in the rock n roll venue nowadays, and I guess any venue, especially with the return from Covid restrictions, with signs and warnings up about dancing and socialising at your own risk and suchlike. Honesty it has almost become like the swimming pool of the 1970’s! If you are old enough, did you go to them? Crocodile formation walking from school in pairs, ‘You boy, keep up’, swimming cozzies in rolled up towels, or already on under your clothes. Seriously, folks, it can’t just have been an Essex thing, can it? There used to be a big poster up (it seemed like at every turn) in our swimming pool, with a list of ‘don’ts’, and funnily enough, no ‘do’s’. Will patrons kindly refrain from Running, Pushing, Acrobatics or Gymnastics, Shouting, Ducking, Petting, Bombing, Diving in the Swimming Area, or Smoking. The poster even had an addenda underneath with various other finger wagging ‘don’ts’ like the wearing of cut down jeans for example, which if you are unaware, was the end of the world as we know it.
So many rules, they might just as well have put ‘In fact don’t even bother getting wet!!’ To say nothing of the battleaxe swimming teacher, who’d at least once a lesson bellow ‘Get out’ at some poor kid, for such a heinous crime as ‘splashing’, dropping a polystyrene float, or laughing (it happened!!)
Such is the way health & safety is going now, the rockin’ gig will be patrolled not by heavy geezers in black with ‘Security’ on their shirts, but posing teenagers in yellow shirts, red shorts and flip-flops, perched on raised chairs, with an Acme Thunderer whistle (other brands may well be available) on a coloured chord round their neck. Any slight misdemeanour is chastised by a loud ‘pheep’ on the whistle, lip pursing and slow headshake.
With the rules as above, how close are we to this at our clubs and events? Let the Bettajive Review elucidate here, though you don’t need to wade through the pre-pool foot bath stinking of disinfectant and floating corn plasters first (or naughty, naughty, very naughtily wide-step over it cueing another ‘You boy’). You won’t have to worry about getting a bazooka on your foot, that’s what we thought the instructor said, hence a kid got sent out for laughing. Nor will you have to blow up your pyjama bottoms and dive down to retrieve a brick from the bottom of the pool! ….
No Running? That would be at certain weekender venues when the doors are opened for the evening session, and like exiting greyhounds from the traps at Romford Dogs, they tear across the floor to reserve a table. No Pushing, well see above, just pre-doors opening, as the pressure of humanity squishes the people at the front against the door, from the other side their faces look like an African fright mask. I think that’s one of the few times we’ve seen security do a quick nip to the side for fear of getting trampled. Oh and when dinner was served at the old Mundesley site, imagine stampeding Wildebeest.
Will Patrons kindly refrain from…. How times and attitudes change readers. So much ‘elf n safety’, in the rock n roll venue nowadays, and I guess any venue, especially with the return from Covid restrictions, with signs and warnings up about dancing and socialising at your own risk and suchlike. Honesty it has almost become like the swimming pool of the 1970’s! If you are old enough, did you go to them? Crocodile formation walking from school in pairs, ‘You boy, keep up’, swimming cozzies in rolled up towels, or already on under your clothes. Seriously, folks, it can’t just have been an Essex thing, can it? There used to be a big poster up (it seemed like at every turn) in our swimming pool, with a list of ‘don’ts’, and funnily enough, no ‘do’s’. Will patrons kindly refrain from Running, Pushing, Acrobatics or Gymnastics, Shouting, Ducking, Petting, Bombing, Diving in the Swimming Area, or Smoking. The poster even had an addenda underneath with various other finger wagging ‘don’ts’ like the wearing of cut down jeans for example, which if you are unaware, was the end of the world as we know it.
So many rules, they might just as well have put ‘In fact don’t even bother getting wet!!’ To say nothing of the battleaxe swimming teacher, who’d at least once a lesson bellow ‘Get out’ at some poor kid, for such a heinous crime as ‘splashing’, dropping a polystyrene float, or laughing (it happened!!)
Such is the way health & safety is going now, the rockin’ gig will be patrolled not by heavy geezers in black with ‘Security’ on their shirts, but posing teenagers in yellow shirts, red shorts and flip-flops, perched on raised chairs, with an Acme Thunderer whistle (other brands may well be available) on a coloured chord round their neck. Any slight misdemeanour is chastised by a loud ‘pheep’ on the whistle, lip pursing and slow headshake.
With the rules as above, how close are we to this at our clubs and events? Let the Bettajive Review elucidate here, though you don’t need to wade through the pre-pool foot bath stinking of disinfectant and floating corn plasters first (or naughty, naughty, very naughtily wide-step over it cueing another ‘You boy’). You won’t have to worry about getting a bazooka on your foot, that’s what we thought the instructor said, hence a kid got sent out for laughing. Nor will you have to blow up your pyjama bottoms and dive down to retrieve a brick from the bottom of the pool! ….
No Running? That would be at certain weekender venues when the doors are opened for the evening session, and like exiting greyhounds from the traps at Romford Dogs, they tear across the floor to reserve a table. No Pushing, well see above, just pre-doors opening, as the pressure of humanity squishes the people at the front against the door, from the other side their faces look like an African fright mask. I think that’s one of the few times we’ve seen security do a quick nip to the side for fear of getting trampled. Oh and when dinner was served at the old Mundesley site, imagine stampeding Wildebeest.
A familiar sight and sound
No Acrobatics or Gymnastics. Well, that would be those who take to the dancefloor, when it’s heavily populated and include those throws and all sorts of weird and wonderful contortions during a dance. These human strimmers that have little regard for anyone else on the floor or for that matter the height of the ceiling, as they wipe out fellow revellers, the rotating glitter ball most of the lighting system. Mind you readers, there are some I’m sure many of us would like to ‘Pheep’ at,. Those bloody people who consider themselves a cut above the rest of the other dancers and censure the slightest misdirection of a partner, mid dance.
No Shouting. Sorry, that’s unenforceable. Anyone who has been to a gig or weekender know that you have to yell at the top of your voice, usually an inch away from the ear of whoever you want to communicate with. The health warning here (other than the inevitable Covid stuff) would be for the copious amounts of alcohol-soaked saliva that will end up in your ear, and the fact that you’ll sound like John Lee Hooker crossed with Tom Waits by the end of the night….and that’s just the ladies! ‘How How How How’!
Ok ‘Ducking’, hmmm, either pulling legs from underneath or pushing the head below the water surface. I’ll leave you readers with your minds in the gutter, to fill in the gaps and whatever rhyming slang on this one. No Petting? Forget about it, I mean, who would we shout ‘Get a room’ at if we banned that? I can understand no ‘heavy petting’ in a pool. If you did that, you’d sink…….
No Bombing. Not the tucking of head and legs in and jumping in water to create the most splash, but the process of seeing a group photo being lined up, and jumping in front of the photographer thinking that everyone finds your teeth, tonsils, tongue and raised fingers interesting and funny, is banned. That’s photo bombing anyway, though many of you will have seen ‘stage bombing’, where someone heavily under the influence of tipsification jumps on stage and slurs through a song until being encourage off the stage. Ironically, this is sometimes viewed as part of the show!
Diving in the swimming area. That’s a tough call, I suppose we could slightly modify that as no jiving in the strolling area, or no Charleston strolling in the world, ever ever? And no Smoking, well that’s been out for a while, but how about no ‘Schmokin’, the process of being far too cool and beautiful for the rest of us. Cut down jeans, see turned up jeans. The clothing police could be measuring the turn ups on jeans. ‘Oi mate, that’s a blue stripe up the seam of those jeans, where’s the red stitching?’ According to some anyway
Naturally none of the above should be taken seriously, but it does seem like the advisories are everywhere. Take with a hint of irony, especially when you can have a floor full of forty and fifty somethings singing ‘Teenage Cutie’ at the top of their voices, children are allowed to weave through dancers on a full floor, and even wrecking is still allowed. Where the Jodimars tell you to ‘Arch up your back behind your knees, grab your baby’s hand and squeeze’. Actually, you surely would grab your baby’s hand and squeeze if most of us tried the first move, probably in pain!
But hey dear readers, let’s be careful out there…..(whistle to lips)’Pheeep! (and, mouthed silently) Yes you!
No Shouting. Sorry, that’s unenforceable. Anyone who has been to a gig or weekender know that you have to yell at the top of your voice, usually an inch away from the ear of whoever you want to communicate with. The health warning here (other than the inevitable Covid stuff) would be for the copious amounts of alcohol-soaked saliva that will end up in your ear, and the fact that you’ll sound like John Lee Hooker crossed with Tom Waits by the end of the night….and that’s just the ladies! ‘How How How How’!
Ok ‘Ducking’, hmmm, either pulling legs from underneath or pushing the head below the water surface. I’ll leave you readers with your minds in the gutter, to fill in the gaps and whatever rhyming slang on this one. No Petting? Forget about it, I mean, who would we shout ‘Get a room’ at if we banned that? I can understand no ‘heavy petting’ in a pool. If you did that, you’d sink…….
No Bombing. Not the tucking of head and legs in and jumping in water to create the most splash, but the process of seeing a group photo being lined up, and jumping in front of the photographer thinking that everyone finds your teeth, tonsils, tongue and raised fingers interesting and funny, is banned. That’s photo bombing anyway, though many of you will have seen ‘stage bombing’, where someone heavily under the influence of tipsification jumps on stage and slurs through a song until being encourage off the stage. Ironically, this is sometimes viewed as part of the show!
Diving in the swimming area. That’s a tough call, I suppose we could slightly modify that as no jiving in the strolling area, or no Charleston strolling in the world, ever ever? And no Smoking, well that’s been out for a while, but how about no ‘Schmokin’, the process of being far too cool and beautiful for the rest of us. Cut down jeans, see turned up jeans. The clothing police could be measuring the turn ups on jeans. ‘Oi mate, that’s a blue stripe up the seam of those jeans, where’s the red stitching?’ According to some anyway
Naturally none of the above should be taken seriously, but it does seem like the advisories are everywhere. Take with a hint of irony, especially when you can have a floor full of forty and fifty somethings singing ‘Teenage Cutie’ at the top of their voices, children are allowed to weave through dancers on a full floor, and even wrecking is still allowed. Where the Jodimars tell you to ‘Arch up your back behind your knees, grab your baby’s hand and squeeze’. Actually, you surely would grab your baby’s hand and squeeze if most of us tried the first move, probably in pain!
But hey dear readers, let’s be careful out there…..(whistle to lips)’Pheeep! (and, mouthed silently) Yes you!
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Dot…dot Best tracks in the world ever ever to clot your cream for this month are Ivory Joe Hunter’s ‘Shooty Booty’, Johnny Fuller’s ‘All Night Long’ and the Dooley Sisters’ ‘Shtiggy Boom’………..Help me solve something that’s puzzled me for years. Ray Sharpe’s ‘Linda Lu’ goes ‘Well they call my baby Patty but her real name was Linda Lu’. Lin, Lindy, Lulu maybe but how in the world do you get to Patty?........I actually saw an inflatable archery stand at one event, you couldn’t make it up……from below *one sheet of kitchen roll doth not a doily make, Mrs Seabrook 😊 ……Things even ’56 Elvis couldn’t look cool doing for this month, trying to use a whizzy toothbrush fully dressed in going out gear….Always mildly suspicious about enactment events in fields. It’s all a bit Midsomer-like…….I don’t want to be ‘that’ person, but Hank Williams III track mentioned below, ‘Seven Months 39 Days’. Would that not be eight months and eight days? I await the usual social media ducking stool ……I note there’s an updated version of the ‘will patrons kindly’ poster, but that’s for another day……
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Next up at Chezzie
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A very few places left
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Fun in Bun. We returned to June’s home town of Buntingford in Herts, to check out the annual classic car show and music. The whole of the centre of Buntingford, which consists of the High Street at a third of a mile long, is closed off and the cars and bikes park at the sides of it. This year was the twenty first such event, and once again it brought the crowds in from far and wide, and some cool vehicles. Those around my age might recall the famous/infamous Citroen 2CV. Sure enough, here was one in the classic car show. I guess they are now, as many from that era are, probably in a million bits in the scrappy yard. They command some pretty chunky dollars now apparently.
Throughout the town, there’s a variety of music happening, and at the top end, which is known locally as ‘the tile shop’, a truck stage is set up for bands that capture our attention the most. That’s the contribution made by Gary Lampard, who books the bands for that ‘end of town’ employing `the Houserockers. This trio have played the Classic before, and once again they turned in a fine show.
This was a set of the finest roots Rockabilly sound led by Rob Glazebrook’s deft guitar work. It wouldn’t be churlish of us to suggest that a lot of the audience were not familiar with the likes of Jack Earls’ ‘Sign on the Dotted Line’, but they were all into the quality right from the get go. Eddie Bond’s ‘Rockin’ Daddy’ got the toes tapping and a sublime version of the Moonlighters haunting ‘Broken Heart’ was roundly appreciated. People are transient at this event, passing by all the time, however many had to stop and take in half a dozen tracks. ‘Betty Ann’, ‘Blue Moon Baby’, ‘Shorty The Barber’ and Beamon Forse’s classic rocker ‘You Better Go Now’, you gotta love this stuff
It’s always a good event at Buntingford, even if you aren’t a petrol-head, or a dyed in the wool music fan (there were blues, country and sixties acts on during the day). And bands like the Houserockers, always enhance the experience.
Gallery below, click on the pics for full view
Throughout the town, there’s a variety of music happening, and at the top end, which is known locally as ‘the tile shop’, a truck stage is set up for bands that capture our attention the most. That’s the contribution made by Gary Lampard, who books the bands for that ‘end of town’ employing `the Houserockers. This trio have played the Classic before, and once again they turned in a fine show.
This was a set of the finest roots Rockabilly sound led by Rob Glazebrook’s deft guitar work. It wouldn’t be churlish of us to suggest that a lot of the audience were not familiar with the likes of Jack Earls’ ‘Sign on the Dotted Line’, but they were all into the quality right from the get go. Eddie Bond’s ‘Rockin’ Daddy’ got the toes tapping and a sublime version of the Moonlighters haunting ‘Broken Heart’ was roundly appreciated. People are transient at this event, passing by all the time, however many had to stop and take in half a dozen tracks. ‘Betty Ann’, ‘Blue Moon Baby’, ‘Shorty The Barber’ and Beamon Forse’s classic rocker ‘You Better Go Now’, you gotta love this stuff
It’s always a good event at Buntingford, even if you aren’t a petrol-head, or a dyed in the wool music fan (there were blues, country and sixties acts on during the day). And bands like the Houserockers, always enhance the experience.
Gallery below, click on the pics for full view
It's back! And at it's ancestral home, Click on the flyer for details
The Lah Di Dahs
Coming up to the Roses. Another daytime event, this time in Gainsborough, Lincs, the first leg of a full Saturday for us. This event was at the Venue at Roses, a not-for-profit facility situated in the Roses sports field, and hosted ‘Step Back In Time’ supporting the Victoria Cross Trust charity. There were living history groups and military displays as well as music.
The history groups included WW1, WW2, and Vikings. It was interesting to see ladies in authentic 40’s dress walking around with Sten guns, and Vikings on a mobile phone! The music during the morning, centred around the 1930’s to the early fifties with a female vocal trio, the Lah Di Dahs, providing the live sounds.
The trio on this occasion, consisted of Bridget, Karen and Tara although they, as a group, actually have five vocalists available, covering soprano, alto and mezzo vocal ranges. They perform to backing tracks, presumably taken from the original recordings or scores. We caught their first of three sets during the day.
I’m sure many of you have a particular mental yardstick that you compare all others too, and unsurprisingly ours are vocal trios like the Andrews Sisters, the Jaye Sisters, The Fontaine Sisters and more recently the Puppini Sisters. Tell you what readers, this trio had it all vocally to take on some pretty well-known tunes. They started waaaay back, with ‘I Wish I Could Shimmy Like My Sister Kate’, which dates from 1922, a jazzy tune written by Armand J Piron, popularised by (among others) Fats Waller and Anna Jones.
Moving through the decades into the thirties with ‘The Gold Diggers Song-We’re In The Money’, a tune that originally heralded the beginning of the end of the Great Depression in the USA, fantasised in the 1933 film of the same name, performed by Ginger Rogers. A super smooth vocal version of this one. Their take on the Andrews Sisters 1940 beauty ‘South American Way’ was a true highlight vocally. I know that the song was first performed by Carmen Miranda in the 1939 Broadway musical ‘Streets of Paris’, but the Andrews Sisters with Glenn Miller release remains the definitive one for us, and the Lah Di Dahs presentation was a treat. And a dispatch style mention for ‘Sway’, in the Dean Martin 1954 style too. Top stuff.
Gallery images, click on them for full sized pics
The history groups included WW1, WW2, and Vikings. It was interesting to see ladies in authentic 40’s dress walking around with Sten guns, and Vikings on a mobile phone! The music during the morning, centred around the 1930’s to the early fifties with a female vocal trio, the Lah Di Dahs, providing the live sounds.
The trio on this occasion, consisted of Bridget, Karen and Tara although they, as a group, actually have five vocalists available, covering soprano, alto and mezzo vocal ranges. They perform to backing tracks, presumably taken from the original recordings or scores. We caught their first of three sets during the day.
I’m sure many of you have a particular mental yardstick that you compare all others too, and unsurprisingly ours are vocal trios like the Andrews Sisters, the Jaye Sisters, The Fontaine Sisters and more recently the Puppini Sisters. Tell you what readers, this trio had it all vocally to take on some pretty well-known tunes. They started waaaay back, with ‘I Wish I Could Shimmy Like My Sister Kate’, which dates from 1922, a jazzy tune written by Armand J Piron, popularised by (among others) Fats Waller and Anna Jones.
Moving through the decades into the thirties with ‘The Gold Diggers Song-We’re In The Money’, a tune that originally heralded the beginning of the end of the Great Depression in the USA, fantasised in the 1933 film of the same name, performed by Ginger Rogers. A super smooth vocal version of this one. Their take on the Andrews Sisters 1940 beauty ‘South American Way’ was a true highlight vocally. I know that the song was first performed by Carmen Miranda in the 1939 Broadway musical ‘Streets of Paris’, but the Andrews Sisters with Glenn Miller release remains the definitive one for us, and the Lah Di Dahs presentation was a treat. And a dispatch style mention for ‘Sway’, in the Dean Martin 1954 style too. Top stuff.
Gallery images, click on them for full sized pics
Rusty and Helen from Razor Holler
Good-Wood. That evening we nipped over to the Woodfield Social Club, for a double header featuring Razor Holler and the Kingshakes with the venerable American Hot Wax show on sounds.
Razor Holler, a four piece from the North West consist of Rusty Williams on rhythm guitar and vocals, bassist Helen Blank, Danny Ibison on lead guitar and drummer Alan Bentley. Their style draws from Sun and Starday Rockabilly through some country bop and western swing with a tinge of surf. There’s one thing you can guarantee with a Razor Holler show is a top drawer set list and a sharp and tight delivery, and this one was no exception.
George Jones’ ‘Tall Tall Trees’ set the pace after the opening surfy self-titled instrumental, with Little Jimmy Dickens’ ‘Rocket in My Pocket’ and Johnny Horton’s ‘Bull By The Horns’ keeping it going. Two covers of Webb Pierce songs followed. Rusty’s vocal style is well suited to the Webb Pierce sound, as was ably demonstrated in ‘Walkin the Dog’ and the sing-along style of ‘I Ain’t Never’. The Stanley Brothers (Carter and Ralph) were a bluegrass act, whose activity spanned some twenty years from the 40’s to the 60’s. Here the band took on one of their nippily paced tunes ‘If I Lose’, originally a guitar and banjo picker.
I could’ve sworn I heard ‘Rheumatism Boogie’ which is one of their expertly crafted originals, but it’s not on our notes. ‘Don’t Be So Picky’ however was, and that’s a cracker as well. We have to flag up ‘You’re Crazy For Taking The Bus’, which you may associate with Jonathan Richman. Just perfect in every way, as was Billy Grammar’s ‘Gotta Travel On’. Backing vocals from Danny and Helen also feature throughout the set, and it’s Alton and Jimmy’s ‘No More Crying the Blues’ that topped off a memorable set. Encore please, yep the powerhouse ‘Bip Bop Boom’ and ‘Shortnin’ Bread’. What more could you want? Another set???......
Razor Holler, a four piece from the North West consist of Rusty Williams on rhythm guitar and vocals, bassist Helen Blank, Danny Ibison on lead guitar and drummer Alan Bentley. Their style draws from Sun and Starday Rockabilly through some country bop and western swing with a tinge of surf. There’s one thing you can guarantee with a Razor Holler show is a top drawer set list and a sharp and tight delivery, and this one was no exception.
George Jones’ ‘Tall Tall Trees’ set the pace after the opening surfy self-titled instrumental, with Little Jimmy Dickens’ ‘Rocket in My Pocket’ and Johnny Horton’s ‘Bull By The Horns’ keeping it going. Two covers of Webb Pierce songs followed. Rusty’s vocal style is well suited to the Webb Pierce sound, as was ably demonstrated in ‘Walkin the Dog’ and the sing-along style of ‘I Ain’t Never’. The Stanley Brothers (Carter and Ralph) were a bluegrass act, whose activity spanned some twenty years from the 40’s to the 60’s. Here the band took on one of their nippily paced tunes ‘If I Lose’, originally a guitar and banjo picker.
I could’ve sworn I heard ‘Rheumatism Boogie’ which is one of their expertly crafted originals, but it’s not on our notes. ‘Don’t Be So Picky’ however was, and that’s a cracker as well. We have to flag up ‘You’re Crazy For Taking The Bus’, which you may associate with Jonathan Richman. Just perfect in every way, as was Billy Grammar’s ‘Gotta Travel On’. Backing vocals from Danny and Helen also feature throughout the set, and it’s Alton and Jimmy’s ‘No More Crying the Blues’ that topped off a memorable set. Encore please, yep the powerhouse ‘Bip Bop Boom’ and ‘Shortnin’ Bread’. What more could you want? Another set???......
The Kingshakes
A contrast in styles next with the Kingshakes, a trio promising old school Rockabilly with a neo sound. And that’s exactly what we got, with stand up drumming, frantic thump-ticking bass and searing lead guitar, resonating with an additional speaker. I’m guessing that they are local lads judging by the banter between the audience and the band. Not for the faint of heart this stuff readers as the lads ripped through a set list opening with the familiar Link Wray ‘Run Chicken Run’. They rattled off ‘Jeanie Jeanie Jeanie’, ‘Big River’, and Led Zeppelin’s ‘Rock and Roll’. It wasn’t all a hundred miles an hour though, there was a bit of stroll with ‘Susie Q’ and ‘Little Sister’.
Back among the rock-outs with Johnny Guitar Watson’s ‘Looking Back’ and Billy Lee Riley’s ‘Flying Saucers Rock n Roll’ and then the mash up blues bop where ‘You Just Don’t Treat Me Right’ melded into ‘Sure Like The Look in Your Eyes’, which was rapidly followed quickly by another Red Hot and Blue kicker ‘Jumpin’ Around’. Thundering sounds in Donny.
Gallery images, you can click on them for full sized pics
Back among the rock-outs with Johnny Guitar Watson’s ‘Looking Back’ and Billy Lee Riley’s ‘Flying Saucers Rock n Roll’ and then the mash up blues bop where ‘You Just Don’t Treat Me Right’ melded into ‘Sure Like The Look in Your Eyes’, which was rapidly followed quickly by another Red Hot and Blue kicker ‘Jumpin’ Around’. Thundering sounds in Donny.
Gallery images, you can click on them for full sized pics
It's Summertime
The Joy of Six. To Hubberts Bridge (Boston-ish) and don’t spare the horses, which is an irony given that this was the weekend where the fuel panic took hold, and a horse might have been the better option. This was Boston Jive’s 6th anniversary bash with ever-present Mister Big Feet on the decks, supporting the live turn, The Summertime Kings. Now the last time we saw the Summertime Kings was with Mister Big Feet at Boston Jive’s event at…..Hubberts……Bridge. No readers we haven’t gone doolally, it was last August, in the car park, when the Covid restrictions were lifted just that little bit. This time, no yellow and black stripey tape, no backing off when people approach, in fact not even outside. Proper gig with a crowd and a palpable sense of reuniting with each other.
I believe this is the third time we’ve seen the Summertime Kings, a four piece local to the Boston area. Their style relies a fair bit on vocal harmonies, a style that can find out many a band if it’s not done well. These lads have clearly been working hard at their craft as they have come on leaps and bounds. The harmonies are tight and the musicianship accomplished, which they immediately displayed in the Bellfuries ‘Your Love (is all that I’m missing)’, and the Cliques ‘I’m in Love With a Girl’. With many bands there are tracks you really want to hear them perform and for us it’s their version of ‘Morse Code of Love’ originally by the Capris which surfaced on vinyl in the early 80’s. Just an ace sound.
A bit of Elvis? Why not. How about ‘Such a Night’ and ‘Shopping Around’ then, that’ll fill the floor. Really enjoyed their take on Bo Walton’s ‘This Little Car of Mine’, respectful to the original track in every way, and in a similar vein, the Jets’ styled ‘Yes Tonight Josephine’.
In between, Ross played some floor filling stuff while the audience indulged in stomach filling celebratory cake*. The spirit of Boston Jive is like many of the clubs we have been to since the relaxation of Covid rules. They’ve been closed down, opened up and closed again, but never broken.
Set two picked up where the first had left off with favourites ‘Hello Mary Lou’, Bobby Day’s ‘Little Turtle Dove’, the Cues ‘Crazy Crazy Party’ and Wynonie’s ‘Bloodshot Eyes’. There’s versatility in that little four tracker, especially taking on a blues shouter standard. For those who heard/saw the lockdown session the lads did, I’d recommend you check out their own track ‘One Track Mind’, which they followed with the floor filling winner, ‘Look Out Heart’.
A really excellent night and a super welcome return to Boston Jive’s gig events, which complement their weekly dance lessons around Boston. Congrats once again to Claire and Neil Seabrook.
Gallery images below, click on them for full sized pic
If you like what you see, help us keep this magazine free by popping us a donation by using the button below. Many thanks
I believe this is the third time we’ve seen the Summertime Kings, a four piece local to the Boston area. Their style relies a fair bit on vocal harmonies, a style that can find out many a band if it’s not done well. These lads have clearly been working hard at their craft as they have come on leaps and bounds. The harmonies are tight and the musicianship accomplished, which they immediately displayed in the Bellfuries ‘Your Love (is all that I’m missing)’, and the Cliques ‘I’m in Love With a Girl’. With many bands there are tracks you really want to hear them perform and for us it’s their version of ‘Morse Code of Love’ originally by the Capris which surfaced on vinyl in the early 80’s. Just an ace sound.
A bit of Elvis? Why not. How about ‘Such a Night’ and ‘Shopping Around’ then, that’ll fill the floor. Really enjoyed their take on Bo Walton’s ‘This Little Car of Mine’, respectful to the original track in every way, and in a similar vein, the Jets’ styled ‘Yes Tonight Josephine’.
In between, Ross played some floor filling stuff while the audience indulged in stomach filling celebratory cake*. The spirit of Boston Jive is like many of the clubs we have been to since the relaxation of Covid rules. They’ve been closed down, opened up and closed again, but never broken.
Set two picked up where the first had left off with favourites ‘Hello Mary Lou’, Bobby Day’s ‘Little Turtle Dove’, the Cues ‘Crazy Crazy Party’ and Wynonie’s ‘Bloodshot Eyes’. There’s versatility in that little four tracker, especially taking on a blues shouter standard. For those who heard/saw the lockdown session the lads did, I’d recommend you check out their own track ‘One Track Mind’, which they followed with the floor filling winner, ‘Look Out Heart’.
A really excellent night and a super welcome return to Boston Jive’s gig events, which complement their weekly dance lessons around Boston. Congrats once again to Claire and Neil Seabrook.
Gallery images below, click on them for full sized pic
If you like what you see, help us keep this magazine free by popping us a donation by using the button below. Many thanks
Porky rocks it out
Fat sounds. The following evening it was over to the metropolis that is Gedney Dyke, which is between Boston and Kings Lynn. Here at the village hall, we found the Oakie Boogie event, featuring Fat and Furious from Norfolk on stage, supported by DJs David ‘The Mailman’ Willis and organiser Courtney Oakes. Good to see a decent numbered crowd in especially as the proceeds were going to the Alzheimer’s Society.
Fat ‘n’ Furious features David ‘Porky’ Coates on lead vocals and rhythm guitar, Toby Kerridge on lead guitar, Mike Waters thrashing the cans and deputising on bass for this gig, Tim Gillies. The style is no nonsense, straight ahead, what they like to call ‘Rockabelly’. That equates to ballsy versions of classic rockers such as ‘Summertime Blues’, ‘Your Baby Blue Eyes’ and ‘I’m Coming Home’, which opened up the show. Their own composition ‘Fat ‘n’ Furious is a tough-nut sound, and the cool take on Howlin’ Wolf’s ‘Smokestack Lightning’ which became ‘My Babe’ was a great addition. And not forgetting Elvis’ ‘Burning Love’.
Set two kept up the velocity and tempo, with the Restless classic ‘Ice Cold’ and Hank Williams III ‘Seven Months, 39 Days’, with Porky discarding the rhythm guitar for the duration. Strollers ‘Brand New Cadillac’ and ‘Modern Don Juan’ hit the spot, as did ‘I Need Your Love Tonight’ and ‘Twenty Flight Rock’ which ended the second set. Naturally there were encores, the first of which was a surprise in the shape of the Specials ‘Talking bout the Big Monkey Man’, followed by a cracking version of the surf classic ‘Wipeout’ and to top off, ‘Good Golly Miss Molly’. A kick ar*e brace of sets, missing only my favourite instro of theirs ‘Kampai Osaka.
Well done to Courtney Oakes for putting on the gig, raising a chunk of change for the Alzheimer’s Society, and to the Mailman, who also delivered (pun intended) 😉
Gallery images below, click on them for full sized pics
Fat ‘n’ Furious features David ‘Porky’ Coates on lead vocals and rhythm guitar, Toby Kerridge on lead guitar, Mike Waters thrashing the cans and deputising on bass for this gig, Tim Gillies. The style is no nonsense, straight ahead, what they like to call ‘Rockabelly’. That equates to ballsy versions of classic rockers such as ‘Summertime Blues’, ‘Your Baby Blue Eyes’ and ‘I’m Coming Home’, which opened up the show. Their own composition ‘Fat ‘n’ Furious is a tough-nut sound, and the cool take on Howlin’ Wolf’s ‘Smokestack Lightning’ which became ‘My Babe’ was a great addition. And not forgetting Elvis’ ‘Burning Love’.
Set two kept up the velocity and tempo, with the Restless classic ‘Ice Cold’ and Hank Williams III ‘Seven Months, 39 Days’, with Porky discarding the rhythm guitar for the duration. Strollers ‘Brand New Cadillac’ and ‘Modern Don Juan’ hit the spot, as did ‘I Need Your Love Tonight’ and ‘Twenty Flight Rock’ which ended the second set. Naturally there were encores, the first of which was a surprise in the shape of the Specials ‘Talking bout the Big Monkey Man’, followed by a cracking version of the surf classic ‘Wipeout’ and to top off, ‘Good Golly Miss Molly’. A kick ar*e brace of sets, missing only my favourite instro of theirs ‘Kampai Osaka.
Well done to Courtney Oakes for putting on the gig, raising a chunk of change for the Alzheimer’s Society, and to the Mailman, who also delivered (pun intended) 😉
Gallery images below, click on them for full sized pics
Sold Out but you should contact Viv Roberts if you want to go on a reserve list
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vinyl reviews
Here are a few 45rpm reviews. They are available from Bim Bam records (and others) . Click on the banner for further details
The Isaac Webb Trio – 45rpm
This three piece Rockabilly and R&B outfit come from a small island off Shetland, and have cut a smashing 45 on Wild Records. The band are Isaac Webb on Guitar and Lead Vocal, Gary Smith - Double Bass and drummer Tim Matthew. Both tracks on the 45 are original compositions.
‘Heartbreaking Woman’ is a rollocking blues bop romp, with the coolest guitar work, against a tale of deceit in a relationship. Thumping track this one
On the flip, it’s a kicking instrumental ‘Island Boogie’, well crafted and such a full and ballsy sound it makes you wonder that there’s only three in the band!
Excellent
This three piece Rockabilly and R&B outfit come from a small island off Shetland, and have cut a smashing 45 on Wild Records. The band are Isaac Webb on Guitar and Lead Vocal, Gary Smith - Double Bass and drummer Tim Matthew. Both tracks on the 45 are original compositions.
‘Heartbreaking Woman’ is a rollocking blues bop romp, with the coolest guitar work, against a tale of deceit in a relationship. Thumping track this one
On the flip, it’s a kicking instrumental ‘Island Boogie’, well crafted and such a full and ballsy sound it makes you wonder that there’s only three in the band!
Excellent
Bo Diddley – repro 45
Ellas Otha Bates (McDaniel), better known as Bo Diddley (1928 – 2008) was an immense performer, writer and musician. He played a custom made rectangular bodied ‘twang machine’ guitar and his ‘shave and a haircut for two bits’ style is unmistakeable. He often included ladies in his band, the likes of ‘The Duchess’ and ‘Lady Bo’, as well as Jerome Green on maracas.
This repro single has the coolest photograph on the sleeve, and a brace of Bo beauties within. ‘Rock ‘n’ Roll’ truly rocks from the opening bars, classic riffs, and Bo mid-way through insisting ‘That ain’t Rock n Roll, that’s Jazz’. Side two has ‘Hully Gully’ which appears to be the truncated title ‘Huckleberry Bush Hully Hully Gully’ from 1960, and the album ‘Bo Diddley is an Outlaw Vol 2’. A very underrated track, that retains the Bo Diddley ‘punch’, throughout
Top drawer
Ellas Otha Bates (McDaniel), better known as Bo Diddley (1928 – 2008) was an immense performer, writer and musician. He played a custom made rectangular bodied ‘twang machine’ guitar and his ‘shave and a haircut for two bits’ style is unmistakeable. He often included ladies in his band, the likes of ‘The Duchess’ and ‘Lady Bo’, as well as Jerome Green on maracas.
This repro single has the coolest photograph on the sleeve, and a brace of Bo beauties within. ‘Rock ‘n’ Roll’ truly rocks from the opening bars, classic riffs, and Bo mid-way through insisting ‘That ain’t Rock n Roll, that’s Jazz’. Side two has ‘Hully Gully’ which appears to be the truncated title ‘Huckleberry Bush Hully Hully Gully’ from 1960, and the album ‘Bo Diddley is an Outlaw Vol 2’. A very underrated track, that retains the Bo Diddley ‘punch’, throughout
Top drawer
Janis Martin – repro 45
Janis Darlene Martin (1940 – 2007) was one of Rock n Roll’s pioneering female artists in a male dominated field in the ‘50’s. She gained the nickname, the Female Elvis, and has remained a firm favourite all over the Rock n Roll music circuit. Here are two of her fine songs paired on a 45 with a well made picture sleeve.
‘Let’s Elope Baby’ was an ‘A’ side from ’56, relating the tale of two young lovers taking the marital plunge, without their parents consent. On the ‘B’ side ‘Bang Bang’ from 1958, a cracking tune to cock your pistol to.
Janis Darlene Martin (1940 – 2007) was one of Rock n Roll’s pioneering female artists in a male dominated field in the ‘50’s. She gained the nickname, the Female Elvis, and has remained a firm favourite all over the Rock n Roll music circuit. Here are two of her fine songs paired on a 45 with a well made picture sleeve.
‘Let’s Elope Baby’ was an ‘A’ side from ’56, relating the tale of two young lovers taking the marital plunge, without their parents consent. On the ‘B’ side ‘Bang Bang’ from 1958, a cracking tune to cock your pistol to.
John Fred – repro 45
John Fred and the Playboys were formed in the 50’s in Baton Rouge, Louisiana, and gained considerable notoriety in the mid-60’s with their smash ‘Judy in Disguise’, a song that made many a Rock n Roll compilation in the past.
This repro 45 on N-Joy records, also of Louisiana, brings the ’65 release ‘My First Love’ and ‘Boogoe Children’
‘My First Love’ was originally the ‘A’ side and to be honest, it’s not a great track if you’re looking for something rocking. But whoa, the ‘B’ side is a real tear up bopper, many of you will be familiar with already. There’s an interesting back story to ‘Boogie Children’ Lynn Ourso’s modification of the Boogie Man’s ’48 classic. Apparently it was one of those songs that the band used to perform live, and at the end of a recording session, they had ‘some tape left’ to use, They laid ‘Children down and the rest as they say, is history
John Fred and the Playboys were formed in the 50’s in Baton Rouge, Louisiana, and gained considerable notoriety in the mid-60’s with their smash ‘Judy in Disguise’, a song that made many a Rock n Roll compilation in the past.
This repro 45 on N-Joy records, also of Louisiana, brings the ’65 release ‘My First Love’ and ‘Boogoe Children’
‘My First Love’ was originally the ‘A’ side and to be honest, it’s not a great track if you’re looking for something rocking. But whoa, the ‘B’ side is a real tear up bopper, many of you will be familiar with already. There’s an interesting back story to ‘Boogie Children’ Lynn Ourso’s modification of the Boogie Man’s ’48 classic. Apparently it was one of those songs that the band used to perform live, and at the end of a recording session, they had ‘some tape left’ to use, They laid ‘Children down and the rest as they say, is history
Nappy Brown – repro 45
Napoleon Brown Goodson Culp (1929 – 2008) known as Nappy Brown has novelty sounding R&B dance tracks in his back catalogue that have been a delight at many an event for years now. The tracks here are from 1957 on the Savoy label.
‘Goody Goody Gumdrop’, is a nippy R&B dancer, with a joyous lilt to the vocal delivery. ‘Pretty Girl’ combines two styles, R&B and Calypso to great effect, with a call and answer delivery to the vocals.
It’s a good one readers
Napoleon Brown Goodson Culp (1929 – 2008) known as Nappy Brown has novelty sounding R&B dance tracks in his back catalogue that have been a delight at many an event for years now. The tracks here are from 1957 on the Savoy label.
‘Goody Goody Gumdrop’, is a nippy R&B dancer, with a joyous lilt to the vocal delivery. ‘Pretty Girl’ combines two styles, R&B and Calypso to great effect, with a call and answer delivery to the vocals.
It’s a good one readers
Roy Hall – repro 45rpm
Anyone around our vintage will recall the buzz generated by the Rare Rockabilly albums that came out and introduced us to a myriad of different sounds, by artists we’d never heard of before. A lot of those songs are now standards on the Rock n Roll circuits. Such was the case with these two tunes by James Faye ‘Roy’ Hall (1922-84) singer, songwriter and pianist.
‘Three Alley Cats’, is the ‘A’ side, the story of three guys taking a venue by storm, after not being made to feel particularly welcome to start with. This is the Hi-Q records version of the song, a raw and in places ad-libbed rocker, different to the more produced Decca versions for example. It’s also that feline image on the picture sleeve, showing the classic Rockabilly trio look as opposed to the ‘two drums and a trumpet and eighty-eight keys’ in the song
Flip it over, and it’s the equally classic ‘Dig Everybody, Dig That Boogie’, again with the Hi-Q sound, different to the truncated title version many of us first heard.
Well presented visually and a cracking twin spin
Anyone around our vintage will recall the buzz generated by the Rare Rockabilly albums that came out and introduced us to a myriad of different sounds, by artists we’d never heard of before. A lot of those songs are now standards on the Rock n Roll circuits. Such was the case with these two tunes by James Faye ‘Roy’ Hall (1922-84) singer, songwriter and pianist.
‘Three Alley Cats’, is the ‘A’ side, the story of three guys taking a venue by storm, after not being made to feel particularly welcome to start with. This is the Hi-Q records version of the song, a raw and in places ad-libbed rocker, different to the more produced Decca versions for example. It’s also that feline image on the picture sleeve, showing the classic Rockabilly trio look as opposed to the ‘two drums and a trumpet and eighty-eight keys’ in the song
Flip it over, and it’s the equally classic ‘Dig Everybody, Dig That Boogie’, again with the Hi-Q sound, different to the truncated title version many of us first heard.
Well presented visually and a cracking twin spin
The Starlighters – repro 45
I could find just two 45 releases involving the Starlighters, from 1959. Looking at the personnel in the band, Russel Bridges who wrote the ‘B’ side ‘Creepin’ is indeed the same artist who recorded ‘Alright’ which appeared on the seminal classic LP ‘Chess Rockabillies’.
Both these tracks are instrumentals, ‘Creepin’ is a late night cool stroll beat, whilst on the flip, ‘Hot Licks’ is a hot jive track driven by guitar and sax.
I could find just two 45 releases involving the Starlighters, from 1959. Looking at the personnel in the band, Russel Bridges who wrote the ‘B’ side ‘Creepin’ is indeed the same artist who recorded ‘Alright’ which appeared on the seminal classic LP ‘Chess Rockabillies’.
Both these tracks are instrumentals, ‘Creepin’ is a late night cool stroll beat, whilst on the flip, ‘Hot Licks’ is a hot jive track driven by guitar and sax.
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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. Get in touch if you want your record included.
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 are able to get out and about now, 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. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
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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. Get in touch if you want your record included.
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 are able to get out and about now, 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. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
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
