the bettajive review magazine #22
Jake Calypso falling for his audience at the Rockabilly Blowout
We are a little late with this latest issue, loyal readers. As you can see we have Jake Calypso, one of the many performers from the Rockabilly Blowout at Drayton Manor pictured above. The full review is featured below. We also attended Hemsby Rock n Roll Weekender a week later. To give that weekender maximum column review inches, Hemsby's review will appear in the December issue.
Here in the UK, we are largely out of Covid-19 restrictions, however, we will continue to publish current government guidelines, and support the vaccination program
Here in the UK, we are largely out of Covid-19 restrictions, however, we will continue to publish current government guidelines, and support the vaccination program
The Bettajive Review
Two tons-up! Well, who’d have thunk it? The Bettajive Review online magazine is two years old. In those two years there has been several corkers, crackers, barn burners and butt kickers of gigs, a global pandemic that shut everything down, and the promise of so many events to come. I’ve also discovered that this is the 200th Bettajive Review skit I’ve written (in various formats), in the past seventeen and-a-bit years.
A little bit of nostalgia for one second, indulge me readers. The magazine came about as a result of my posting short and rather silly reviews of gigs, on Sugardolls Diner on the old MSN sites (in the early noughties). These pre-dates all the social media we know today, MySpace, Facebook, Instagram and Twitter, and other than your user name, if you didn’t want a photo up, you were anonymous.
Basically, those people are to blame for this incessant monthly drivel. And now after having written two hundred Bettajive reviews, it got me thinking, what else could possibly fill this page each issue. Well dear readers, here are a few subjects, that may or may not make it into future reviews, with tongue planted firmly in cheek, and a series of ‘Ba-dum-tish’ sounds at the ready……
Features like this one. ‘Rockin’ Punch Ups’. This would be where there’d be a fantasy of putting some of your favourite Rock n Roll acts into the ring together, and see who emerges victorious in a Royal Rumble stylie. Let’s start with Mike Bell and the Belltones, the Three Belles, Freddie Bell and the Bell Boys, Bonnie Blue Bell, Jimmy Bell and Tommy Bell. Who’d win that one? I really don’t know, but I reckon it would be a right ding-dong!
Two tons-up! Well, who’d have thunk it? The Bettajive Review online magazine is two years old. In those two years there has been several corkers, crackers, barn burners and butt kickers of gigs, a global pandemic that shut everything down, and the promise of so many events to come. I’ve also discovered that this is the 200th Bettajive Review skit I’ve written (in various formats), in the past seventeen and-a-bit years.
A little bit of nostalgia for one second, indulge me readers. The magazine came about as a result of my posting short and rather silly reviews of gigs, on Sugardolls Diner on the old MSN sites (in the early noughties). These pre-dates all the social media we know today, MySpace, Facebook, Instagram and Twitter, and other than your user name, if you didn’t want a photo up, you were anonymous.
Basically, those people are to blame for this incessant monthly drivel. And now after having written two hundred Bettajive reviews, it got me thinking, what else could possibly fill this page each issue. Well dear readers, here are a few subjects, that may or may not make it into future reviews, with tongue planted firmly in cheek, and a series of ‘Ba-dum-tish’ sounds at the ready……
Features like this one. ‘Rockin’ Punch Ups’. This would be where there’d be a fantasy of putting some of your favourite Rock n Roll acts into the ring together, and see who emerges victorious in a Royal Rumble stylie. Let’s start with Mike Bell and the Belltones, the Three Belles, Freddie Bell and the Bell Boys, Bonnie Blue Bell, Jimmy Bell and Tommy Bell. Who’d win that one? I really don’t know, but I reckon it would be a right ding-dong!
‘Rap versus Rockin’, how do you imagine that feature would go? Pick one of today’s great acts from each genre and compare them. Well, to start with, I reckon Dollar Bill is worth two of Fifty Cent.
Then there’s our report and review on the Rockabilly coach trip to see the reproduction of Magna Carta Liberatum, where the consensus of the attendees upon inspection, was that although it was good, many said they still preferred the original.
The Charleston Stroll, we ask the burning question…WHY??!!
Update:- The busload of Rockabillies also viewed the Bayeux Tapestry, but on closer inspection they pointed out that it wasn’t an ‘aufentik’ or ‘hooriginal’ tapestry, but in fact, an embroidered cloth. Although, apparently, there was an image of Halley’s Comet, it didn’t look anything like Bill, and as someone had clearly cut the label off, its authenticity as a vintage piece couldn’t be substantiated, no Atomic prints. And no one in the 230ft long piece, was remotely rockin’.
We describe the anonymous ‘Ted’s lament’ as he recounts the sad confession that…..he doesn’t like Newcastle Brown Ale (other top fermented, darker ales are available….or are they??) . You can only imagine his torment, and the interview will be conducted in silhouette, with his words spoken by an actor (we are trying to secure the services of Simon Callow or Stephen Fry). Please ensure you remove sharp objects from your pockets while consuming this article, especially those that flick..
Then there’s our report and review on the Rockabilly coach trip to see the reproduction of Magna Carta Liberatum, where the consensus of the attendees upon inspection, was that although it was good, many said they still preferred the original.
The Charleston Stroll, we ask the burning question…WHY??!!
Update:- The busload of Rockabillies also viewed the Bayeux Tapestry, but on closer inspection they pointed out that it wasn’t an ‘aufentik’ or ‘hooriginal’ tapestry, but in fact, an embroidered cloth. Although, apparently, there was an image of Halley’s Comet, it didn’t look anything like Bill, and as someone had clearly cut the label off, its authenticity as a vintage piece couldn’t be substantiated, no Atomic prints. And no one in the 230ft long piece, was remotely rockin’.
We describe the anonymous ‘Ted’s lament’ as he recounts the sad confession that…..he doesn’t like Newcastle Brown Ale (other top fermented, darker ales are available….or are they??) . You can only imagine his torment, and the interview will be conducted in silhouette, with his words spoken by an actor (we are trying to secure the services of Simon Callow or Stephen Fry). Please ensure you remove sharp objects from your pockets while consuming this article, especially those that flick..
Take our quiz:- Are You Beautiful Enough To Be A Beautiful One? In other language, it would be, are you cool enough maybe. Sampler questions include:- ‘Do you sweat mineral water?’, ‘Are you known by your first name at clubs like the Yabba Yabba Bing-Bing Room (for example)?’, ‘Does every piece of vintage clothing you try on fit you immediately?’ ‘Do you like the Sonics?’, ‘Are the colours still vivid in your tattoos?’ If the answer to any of the sampler questions above is ‘No’, errrr, you’re not, do not proceed. Welcome to Planet Philistine, you are not alone.
Our gallery of table coverings, will assist those who wish to spread them over tables at clubs. Also, there will be handy hints on where to place all your glow-sticks, plates of buns, and fans that spell out ‘Rock ‘n’ Roll’ in fluorescent colours (sic). All that, plus how to surgically remove those tambourines and maracas, that have been forcibly inserted into various orifices by people who’d prefer to hear the band…
Dance tuition is not our forte, however we will feature some of the moves you’ll see and some you really shouldn’t, as anatomically humans are not supposed to bend that way. We’ll speak to couples who practise at home, with their handy hints on where to put the house plants and ornaments while spinning around the lounge. We’ll cover jive injuries that are naturally occurring hazards particularly focussing on the ‘catch the lady six inches from the ground as she falls backwards move’. This is a potentially dangerous manoeuvre, and injury is common if the partner doesn’t catch her. We also recommend the best creams to treat a cauliflower a*se for the drop-ee, and arrange counselling for the drop-er, and how to deal with the recurring ‘then there was the day you dropped me’ in the ensuing years.
We will also investigate the curiosity that is some dance school teacher name pairings at events. One standard and one unusual name, ‘Learn to Dance with Filgactch and Steve or Colin and Scunella’
Important requirements to be a bass player. You should ask whether you can do either of the following. Can you either swing the instrument left and right, lift it over your head, stand on it, play it between your legs? Or maybe adopt the deadpan, deep concentration stance and only view the audience occasionally with mild indignation? If so, you can play the bass.
Like what you see sofar? Help us keep it free by popping over a donation by using the button below. Many thanks
Our gallery of table coverings, will assist those who wish to spread them over tables at clubs. Also, there will be handy hints on where to place all your glow-sticks, plates of buns, and fans that spell out ‘Rock ‘n’ Roll’ in fluorescent colours (sic). All that, plus how to surgically remove those tambourines and maracas, that have been forcibly inserted into various orifices by people who’d prefer to hear the band…
Dance tuition is not our forte, however we will feature some of the moves you’ll see and some you really shouldn’t, as anatomically humans are not supposed to bend that way. We’ll speak to couples who practise at home, with their handy hints on where to put the house plants and ornaments while spinning around the lounge. We’ll cover jive injuries that are naturally occurring hazards particularly focussing on the ‘catch the lady six inches from the ground as she falls backwards move’. This is a potentially dangerous manoeuvre, and injury is common if the partner doesn’t catch her. We also recommend the best creams to treat a cauliflower a*se for the drop-ee, and arrange counselling for the drop-er, and how to deal with the recurring ‘then there was the day you dropped me’ in the ensuing years.
We will also investigate the curiosity that is some dance school teacher name pairings at events. One standard and one unusual name, ‘Learn to Dance with Filgactch and Steve or Colin and Scunella’
Important requirements to be a bass player. You should ask whether you can do either of the following. Can you either swing the instrument left and right, lift it over your head, stand on it, play it between your legs? Or maybe adopt the deadpan, deep concentration stance and only view the audience occasionally with mild indignation? If so, you can play the bass.
Like what you see sofar? Help us keep it free by popping over a donation by using the button below. Many thanks
So much to look forward to in the upcoming issues I think you’ll agree, good Lord willing and the creek don’t rise J
And of course, massive big-uppage to June for illustrating my gig reviews with photos and proof reading each month’s offering, which can take a while sometimes….
Collective nouns for aspects of the scene, let’s give that a go. Given their cooperative movements in unison, a Murmuration of Strollers perhaps? Let’s take it further, possibly a Drapery of Teds, a Plonk of Bass Players, a Twang of Guitarists. I would have said a Crash of Drummers, however that has already been allocated to a collection of Rhinoceri, and there’s no similarity between drummers and, erm, OK, a Crash of Drummers.
To continue, a Squeeeeeeze of Accordion players, a Tickle of Pianists, a Honk of Saxophonists, a Slide of Trombonists, a Parp of Trumpet Players. How about a Filibuster of MCs, a Wax of DJs, a Jitterbop of Rockabillies, a Twerp of Modern Jivers, a Nitwit of Charleston Strollers, and finally, a Scrote of Rock n Roll Writers (when there is more than one in a room). Then perhaps, a Shuttlecock of Ladies who wear Big Skirts, a Petroleum of Hot Rodders a Terpsichorey of Dancers
“Maybe Baby”, a great Buddy Holly song, but could also be a brand name for a retro pregnancy test……. We once saw an ad for a ‘Rockin Restaurant’ advertising a big breakfast. What qualifies it to be ‘Rockin’? Tattooed Toast? Old Black Pudding, eggs done Sun side up? And tea cups with key chains on them……..
And of course, massive big-uppage to June for illustrating my gig reviews with photos and proof reading each month’s offering, which can take a while sometimes….
Collective nouns for aspects of the scene, let’s give that a go. Given their cooperative movements in unison, a Murmuration of Strollers perhaps? Let’s take it further, possibly a Drapery of Teds, a Plonk of Bass Players, a Twang of Guitarists. I would have said a Crash of Drummers, however that has already been allocated to a collection of Rhinoceri, and there’s no similarity between drummers and, erm, OK, a Crash of Drummers.
To continue, a Squeeeeeeze of Accordion players, a Tickle of Pianists, a Honk of Saxophonists, a Slide of Trombonists, a Parp of Trumpet Players. How about a Filibuster of MCs, a Wax of DJs, a Jitterbop of Rockabillies, a Twerp of Modern Jivers, a Nitwit of Charleston Strollers, and finally, a Scrote of Rock n Roll Writers (when there is more than one in a room). Then perhaps, a Shuttlecock of Ladies who wear Big Skirts, a Petroleum of Hot Rodders a Terpsichorey of Dancers
“Maybe Baby”, a great Buddy Holly song, but could also be a brand name for a retro pregnancy test……. We once saw an ad for a ‘Rockin Restaurant’ advertising a big breakfast. What qualifies it to be ‘Rockin’? Tattooed Toast? Old Black Pudding, eggs done Sun side up? And tea cups with key chains on them……..
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Dot….dot. Best tracks in the world ever ever to hash your browns, are ‘Bing Bong’ by the Silhouettes, Moon Mullican’s ‘Jenny Lee’ and Betty McQuaide’s ‘Tongue Tied’……I’ve been struck many times, by the version of Johnny Cash’s ‘Sunday Morning Coming Down’ by Jesse Morris, while busking at San Francisco’s 24th St BART station, which you can see on the internet. There’s and interesting paradox, between his ‘look’ and the sound, and what we by definition, associate with it. The back story to the artist himself is pretty sad though, having passed away in 2011 aged just 28…..
Education is important, and we should all strive to get a good one, so we don’t look stupid. But Rock n Roll is more importenter…….It always happens doesn’t it readers, you happen across a cracking track, and then find out you are the last person on the planet to discover it……Doo Wop especially, nearly every band is a definite article, i.e. ‘The’ followed by the name. Makes you wonder, when you hear their few sides they cut in the 50’s, what happened to them as some have every bit of vocal and musical talent that we associate with the Spaniels, The Cleftones, The Five Keys and so on……..
Things that even ’56 Elvis couldn’t look cool doing’. Solo supermarket shopping, that is packing the stuff that comes down the belt, paying, getting change and putting up with people tutting, moaning and nudging you with their trolley, next in the queue….. With the media player on shuffle, it’s quite amazing and indeed a little frustrating how many tracks are contained within and are not catalogued. So many great tracks that are on Unknown Albums, by Unknown Artists……
Gig nights readers, depending on distance, ready to leave at 6.30pm, drive to the gig, dance, watch the band, dance, watch the band, dance, complain that it’s finished, blether with people there after the lights come on at midnight until they kick us out, drive home, stop at a services for some scran and a coffee, get home, chill, shower and get to bed around 3.30 am, still buzzing. Normal or school night, asleep in the chair by 8.30pm!......
Terry Smith. At this point we must pay tribute to Terry Smith, who has recently passed away. We, like many, caught up with him and Jane at the Rockabilly Blowout, as they were our immediate neighbours in the hotel. He threatened to use the adjoining door and come in our room for a look round. His stall selling Morellos and La Riviera have graced so many of the wardrobes across the Rock n Roll scene, ours included.
There was no grey area with Terry, if it didn’t look good on you, he’d say so. We’re going to miss the insults and humour. Our sincere condolences to Jane, Sara and Rebecca, and his family and friends.
Education is important, and we should all strive to get a good one, so we don’t look stupid. But Rock n Roll is more importenter…….It always happens doesn’t it readers, you happen across a cracking track, and then find out you are the last person on the planet to discover it……Doo Wop especially, nearly every band is a definite article, i.e. ‘The’ followed by the name. Makes you wonder, when you hear their few sides they cut in the 50’s, what happened to them as some have every bit of vocal and musical talent that we associate with the Spaniels, The Cleftones, The Five Keys and so on……..
Things that even ’56 Elvis couldn’t look cool doing’. Solo supermarket shopping, that is packing the stuff that comes down the belt, paying, getting change and putting up with people tutting, moaning and nudging you with their trolley, next in the queue….. With the media player on shuffle, it’s quite amazing and indeed a little frustrating how many tracks are contained within and are not catalogued. So many great tracks that are on Unknown Albums, by Unknown Artists……
Gig nights readers, depending on distance, ready to leave at 6.30pm, drive to the gig, dance, watch the band, dance, watch the band, dance, complain that it’s finished, blether with people there after the lights come on at midnight until they kick us out, drive home, stop at a services for some scran and a coffee, get home, chill, shower and get to bed around 3.30 am, still buzzing. Normal or school night, asleep in the chair by 8.30pm!......
Terry Smith. At this point we must pay tribute to Terry Smith, who has recently passed away. We, like many, caught up with him and Jane at the Rockabilly Blowout, as they were our immediate neighbours in the hotel. He threatened to use the adjoining door and come in our room for a look round. His stall selling Morellos and La Riviera have graced so many of the wardrobes across the Rock n Roll scene, ours included.
There was no grey area with Terry, if it didn’t look good on you, he’d say so. We’re going to miss the insults and humour. Our sincere condolences to Jane, Sara and Rebecca, and his family and friends.
New for 2022
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Hemsby #64 in 2022
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It's back!!! The Rockabilly Rave. What a line up! Click on the flyer for further details
the Rockabilly Blowout #7
Funds raised at the Blowout are for Asthma UK. Click to go to their site
Rockabilly Blowout #7
“Drayton Manor theme park may well be closed”, the sat-nav said to us as we set off for our first weekender since the Rhythm Riot in 2019. Well, it may not have been open for ‘normal’ business, but it certainly was for the 7th Rockabilly Blowout. Our tickets were from the 2020 event that obviously didn’t happen, and had survived a house move, several tidying ups, a couple of ‘safe places’, decorating and fortunately, the journey down. The Park, is indeed closed as far as the rides and attractions are concerned, with the 54m Apocalypse tower standing tall but without the seating. You can’t help but think of Elvis in ‘It Happened at the World’s Fair’, although fortuitously, there were no young Kurt Russel lookalikes kicking the guys’ shins!
This time we’d managed to secure a room at the hotel on site, an impressive building with 150 guest bedrooms and some themed with Thomas and Friends ™ (Thomas the Tank Engine in old money), for children, or ‘big kids’. With Covid-19 still in most people’s mind, the organisers had taken the decision to temperature check everyone on entry to the venue, with a different coloured wristband for each day as proof of having that test.
“Drayton Manor theme park may well be closed”, the sat-nav said to us as we set off for our first weekender since the Rhythm Riot in 2019. Well, it may not have been open for ‘normal’ business, but it certainly was for the 7th Rockabilly Blowout. Our tickets were from the 2020 event that obviously didn’t happen, and had survived a house move, several tidying ups, a couple of ‘safe places’, decorating and fortunately, the journey down. The Park, is indeed closed as far as the rides and attractions are concerned, with the 54m Apocalypse tower standing tall but without the seating. You can’t help but think of Elvis in ‘It Happened at the World’s Fair’, although fortuitously, there were no young Kurt Russel lookalikes kicking the guys’ shins!
This time we’d managed to secure a room at the hotel on site, an impressive building with 150 guest bedrooms and some themed with Thomas and Friends ™ (Thomas the Tank Engine in old money), for children, or ‘big kids’. With Covid-19 still in most people’s mind, the organisers had taken the decision to temperature check everyone on entry to the venue, with a different coloured wristband for each day as proof of having that test.
Johnny Wildheart and the Blue Lights
New for this year, was a reconfigured second hall, The James Suite, serving as a DJ record hop room, run by Be Bop Kaz, and another building housed the clothing, houseware and record stalls. Our main base was in the Hamilton Ballroom, where all of the live acts played, starting on the Friday afternoon with a band new to us, Johnny Wildheart and the Blue Lights, a trio of young lads from Leicestershire/Nottinghamshire.
Johnny Wildheart takes on most of the vocals and lead guitar duties, with bassist Curtis Knott and drummer Louis Ayre keeping it real on rhythms. They produce a gutsy sound taking on some covers and their own material, announcing their arrival with an accomplished version of the Lucky Bullets’ ‘Midnight Treat’. Loved the interestingly titled ‘Cadillac Carnage’ and the Covid-19 lockdown inspired original tune ‘One Step’.
Cool versions of ‘C’mon Pretty Baby’ (Emma and the Ragmen), Buddy’s ‘Oh Boy’ and Johnny Horton’s ‘I’m Coming Home’, rubbed shoulders with originals such as ‘Psycho Love’ which simply rocks, along with the forceful guitar-driven ‘Bopper, Stroller Little Rock n Roller’, and the electric blues sound of ‘Rattlesnake Woman’. It was all topped off with a cracking cover of the Rezurex blues bop sound of ‘Don’t Mess With Me’. Cool beans.
Johnny Wildheart takes on most of the vocals and lead guitar duties, with bassist Curtis Knott and drummer Louis Ayre keeping it real on rhythms. They produce a gutsy sound taking on some covers and their own material, announcing their arrival with an accomplished version of the Lucky Bullets’ ‘Midnight Treat’. Loved the interestingly titled ‘Cadillac Carnage’ and the Covid-19 lockdown inspired original tune ‘One Step’.
Cool versions of ‘C’mon Pretty Baby’ (Emma and the Ragmen), Buddy’s ‘Oh Boy’ and Johnny Horton’s ‘I’m Coming Home’, rubbed shoulders with originals such as ‘Psycho Love’ which simply rocks, along with the forceful guitar-driven ‘Bopper, Stroller Little Rock n Roller’, and the electric blues sound of ‘Rattlesnake Woman’. It was all topped off with a cracking cover of the Rezurex blues bop sound of ‘Don’t Mess With Me’. Cool beans.
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The Preachers
Next up, the recently reformed trio, the Preachers, Nicky Peck, Mark Kemlo and Darren Lince, who had their first rehearsal in twenty years back in May. With three dyed-in-the-wool rockers on stage, it’s a fair bet you’ll get some kickin’ old skool (with the ‘k’ round the wrong way) rockin’, and that’s exactly what we got. There was a serious lean to the Carl Perkins and Sun sound, which is fine by us, with ‘You Can do No Wrong’, ‘True Love’, ‘Movie Magg’, and ‘Lonely Heart’ (I know, it was on Brunswick, spare me the Facebook status).
Jerry Lee’s ‘Bonnie B’, there’s one you don’t hear covered every day, especially without piano, but this was a top take. Must flag up the incredible version of Joe Maphis’ ‘The Rockin’ Gypsy’ featuring Darren Lince on the guitar.
They invited Jean Vincent on stage, for a few numbers, classics like ‘As Long As I’m Moving’ and ‘Let’s Jump The Broomstick’, before the lads took over again, with the rarely covered ‘Hang My Tears Out To Dry’ and Johnny Burnette’s ‘If You Want It Enough’. Pacy, punchy and rockin’ stuff, readers.
Jerry Lee’s ‘Bonnie B’, there’s one you don’t hear covered every day, especially without piano, but this was a top take. Must flag up the incredible version of Joe Maphis’ ‘The Rockin’ Gypsy’ featuring Darren Lince on the guitar.
They invited Jean Vincent on stage, for a few numbers, classics like ‘As Long As I’m Moving’ and ‘Let’s Jump The Broomstick’, before the lads took over again, with the rarely covered ‘Hang My Tears Out To Dry’ and Johnny Burnette’s ‘If You Want It Enough’. Pacy, punchy and rockin’ stuff, readers.
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Raggy Ass Boys
Another band that we haven’t seen before took the stage next, the Raggy Ass Boys, from the North East of England. Simply put, these guys take no prisoners with their style of thumping Neo-styled Rockabilly, played in a 21st Century fashion. Dave Jewers takes the vocals and rhythm guitar duties, with Steve Bell on lead guitar, Angelo Citrone enthusiastically slapping the bejesus out of his bass and drummer Darren Winship.
From the opening bars of ‘Hide and Go Kill’, from the 2019 album ‘Dead Men Walking’, the crowd knew they were in for a treat of an hour of sinister sounding guitar work and venomous lyrics. It’s kind of a mix of Rockabilly, Blues Bop and maybe a bit of Garage. ‘Thunderbird’, ‘Call On You’ and the rock-out ‘Dead Man Walking’ are prime examples, as are ‘Custom 409’ and ‘Lies Lies Lies’
A bit of familiarity came with powerhouse tunes ‘Rockabilly Boogie’ and ‘Stutterin’ Cindy’ as the lads scorched through a set of no-nonsense tracks.
From the opening bars of ‘Hide and Go Kill’, from the 2019 album ‘Dead Men Walking’, the crowd knew they were in for a treat of an hour of sinister sounding guitar work and venomous lyrics. It’s kind of a mix of Rockabilly, Blues Bop and maybe a bit of Garage. ‘Thunderbird’, ‘Call On You’ and the rock-out ‘Dead Man Walking’ are prime examples, as are ‘Custom 409’ and ‘Lies Lies Lies’
A bit of familiarity came with powerhouse tunes ‘Rockabilly Boogie’ and ‘Stutterin’ Cindy’ as the lads scorched through a set of no-nonsense tracks.
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The Doel Brothers
A switch of gears, saw us go from the Neo sound to a more Hillbilly/Western Swing and early Rockabilly sound of the Doel Brothers, Tom, Gordon and David, with Chris Cummings sliding the steel and Sam French on bass. These sounds of this style, in or humble opinion(s), are as authentic as you’re likely to hear, with ‘Wild, Wild Women’ opening their show. ‘Bottle on the Table’ has familiar sounding riffs and vocal delivery, like Don Woody, while they’ve made Tennessee Ernie/Jo Stafford’s 1951 release ‘Kissing Bug Boogie’, their own.
Prompted by their performance at the Viva Las Vegas festival, they’d taken on the song of that name, not an attempt at a direct copy, but given a kind of Louvin Brothers twist. Other covers, very close to the originals, were the Cochran Brothers’ ‘Rockin’ and Flyin’ and Carl Smith’s ‘Go Boy Go’ with some exquisite steel slide by Chris Cummings. All that plus their own material too, ‘New England in the Fall’, ‘Bottle On The Table’ and ‘Hole In My Shoe’ for example. A very well received set from the brothers, picking up on the pre-pandemic performance standard, with ease.
Prompted by their performance at the Viva Las Vegas festival, they’d taken on the song of that name, not an attempt at a direct copy, but given a kind of Louvin Brothers twist. Other covers, very close to the originals, were the Cochran Brothers’ ‘Rockin’ and Flyin’ and Carl Smith’s ‘Go Boy Go’ with some exquisite steel slide by Chris Cummings. All that plus their own material too, ‘New England in the Fall’, ‘Bottle On The Table’ and ‘Hole In My Shoe’ for example. A very well received set from the brothers, picking up on the pre-pandemic performance standard, with ease.
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The Hayriders
The Hayriders, vocalist and rhythm guitarist Neil Wright, Darren Lince on lead guitar, bassist Pat Reyford and drummer Ricky McCann, are an established four piece that took the stage next with their playlist of some of the greatest rockin tracks around. Some of it centres around the Gene Vincent sound, particularly the Cliff Gallup sound, with Darren Lince imitating the master with considerable accomplishment. Not many bands would have the intestinal fortitude to take on ‘Who Slapped John’, but these guys did, and as their opening track too. Indeed, ‘Blue Jean Bop’, a seminal classic from the 1956 album of that name, is one that many groups would body swerve as untouchable, however the Hayriders hit the high spots with this version. ‘Crazy Legs’ and the ’57 ballad ‘I Sure Miss You’ need to be flagged up too.
It wasn’t all Gene, ‘Johnny Burnette’s ‘Your Baby Blue Eyes’, Carl Perkins’ ‘Sweetheart’s a Stranger’ and Pat Cupp’s ‘I Guess It’s Meant That Way’ rocked out, and the sublime take on Slim Rhodes ‘Do What I Do’ was something special. Great set by a bunch of experienced musicians on top form
It wasn’t all Gene, ‘Johnny Burnette’s ‘Your Baby Blue Eyes’, Carl Perkins’ ‘Sweetheart’s a Stranger’ and Pat Cupp’s ‘I Guess It’s Meant That Way’ rocked out, and the sublime take on Slim Rhodes ‘Do What I Do’ was something special. Great set by a bunch of experienced musicians on top form
The Rhythm Slicks
Cranking up the volume to end the Friday live sets, the Rhythm Slicks from Wales. They are Kevin Burnett on vocals and rhythm guitar, with Nick Jones on lead and the familiar engine room rhythm sounds of Tony Biggs on upright bass and drummer Mark Kemlo. Their style is a raw, bodacious type of Rockabilly and Blues combined, played with visual fervour and enthusiastic stage presence.
The set list serves up some classic tracks and original material, as well as a couple of surprises. ‘Tear it Up’ probably speaks for itself, before the first of their own tracks, ‘Jumpin’ Mr Rockford’ which is nothing to do with the Malibu based private eye incidentally. Then suddenly among the rockers, a take on the Hollywood Flames ‘Buzz Buzz Buzz’. Driving this all along was the deft and adept riffs of lead guitarist Nick Jones, who’s not the most demonstrative in the band, on stage, but don’t let that fool you, his playing is red hot.
Then there’s ‘Wolf In Sheep’s Clothing’, a familiar blues bop undertone tear-up, along with ‘Black Whiskey and Gasoline’, ‘Blowing Through’ and .’Storm Blowin’ Ali’ from their recent record release. A fitting end to Friday’s live music.
The set list serves up some classic tracks and original material, as well as a couple of surprises. ‘Tear it Up’ probably speaks for itself, before the first of their own tracks, ‘Jumpin’ Mr Rockford’ which is nothing to do with the Malibu based private eye incidentally. Then suddenly among the rockers, a take on the Hollywood Flames ‘Buzz Buzz Buzz’. Driving this all along was the deft and adept riffs of lead guitarist Nick Jones, who’s not the most demonstrative in the band, on stage, but don’t let that fool you, his playing is red hot.
Then there’s ‘Wolf In Sheep’s Clothing’, a familiar blues bop undertone tear-up, along with ‘Black Whiskey and Gasoline’, ‘Blowing Through’ and .’Storm Blowin’ Ali’ from their recent record release. A fitting end to Friday’s live music.
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The Infernos
Saturday, high noon, heralded the start of a monster thirteen hours of rockin’ in the Hamilton Ballroom. And what better way to start the proceedings than with the Infernos (that’s a rhetorical question incidentally). Brothers Ian and Gary Agar (rhythm guitar and drums respectively) along with lead guitarist Ian Rhodes and bassist Mick Wheeler, play Sun, Columbia and Starday Rockabilly music as well as anyone around. They’ve been about for a while, and have a slick style and a super-tight sound.
The playlist is the what’s-what of classic Rockabilly, including the pounding ‘Ain’t That a Dilly’ and burn up that is ‘Rock n Roll Guitar’. Ian Agar’s vocals are spot on and the guitar breaks by Ian Rhodes, simply sublime. The pace and timbres switch during the show, with Warren Smith’s ‘Dear John’, an Infernos staple, nudging the psyche with power versions of ‘Rockhouse’, ‘Brown Eyed Handsome Man’ and Jack Lane’s ‘King Fool’.
Some Carl Perkins? Why not, and let’s have a couple of corkers, ‘Where the Rio De Rosa Flows’ and the exquisite ‘Sweetheart’s a Stranger’ from ’57. Superb to hear Billy Walker’s ‘I Got Leaving On My Mind’ from 1956 and another beaut from the Warren Smith back catalogue, ‘Who Took My Baby’. A breathless set, offset occasionally by some slower stuff, all of which was an absolute delight.
The playlist is the what’s-what of classic Rockabilly, including the pounding ‘Ain’t That a Dilly’ and burn up that is ‘Rock n Roll Guitar’. Ian Agar’s vocals are spot on and the guitar breaks by Ian Rhodes, simply sublime. The pace and timbres switch during the show, with Warren Smith’s ‘Dear John’, an Infernos staple, nudging the psyche with power versions of ‘Rockhouse’, ‘Brown Eyed Handsome Man’ and Jack Lane’s ‘King Fool’.
Some Carl Perkins? Why not, and let’s have a couple of corkers, ‘Where the Rio De Rosa Flows’ and the exquisite ‘Sweetheart’s a Stranger’ from ’57. Superb to hear Billy Walker’s ‘I Got Leaving On My Mind’ from 1956 and another beaut from the Warren Smith back catalogue, ‘Who Took My Baby’. A breathless set, offset occasionally by some slower stuff, all of which was an absolute delight.
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Johnny Flame and the Dragons
The Infernos were followed by another class act, Johnny Flame and the Dragons, keeping with the incendiary theme, if indeed it was intended….. This was the second four piece of the day with lead singer and rhythm guitarist, Greg Escrader, ably backed by Andy Wren on lead guitar, bassist Neil Roope and drummer Mark Kemlo. For those readers who are playing along with ‘drummer-fruit-machine’, based on the number of bands a player appears in, that’s three for Mr Kemlo.
What a rush to start with, Billy Fury’s ‘Don’t Knock Upon My Door’, followed by a rousing rendition of ‘Tears of Happiness’. Throughout this Blowout, there were so many class guitarists on show and Andy Wren is up there with them all, with an authenticity to his solos that could fool Shazam into thinking it was the actual record. They covered Benny Cliff’s oddity ‘Shake ‘Em Up Rock’ from ’58 and Wayne Williams’ ‘Red Hot Mama’ before bassist Neil Roope took over on the frantic rocker ‘Bop A Lena’.
Offsetting that, ‘So Doggone Lonesome’ before it was ratcheted up again with the likes of ‘Maggie Maggie’, Larry Donn’s ‘Honey Bunn’ and Neil once again rattling off Jimmy Patton’s ‘Oakie’s in the Pokie’. Ace encores of ‘Everybody’s Rockin’ and Red Berry’s ‘What a Dolly’. Great stuff.
What a rush to start with, Billy Fury’s ‘Don’t Knock Upon My Door’, followed by a rousing rendition of ‘Tears of Happiness’. Throughout this Blowout, there were so many class guitarists on show and Andy Wren is up there with them all, with an authenticity to his solos that could fool Shazam into thinking it was the actual record. They covered Benny Cliff’s oddity ‘Shake ‘Em Up Rock’ from ’58 and Wayne Williams’ ‘Red Hot Mama’ before bassist Neil Roope took over on the frantic rocker ‘Bop A Lena’.
Offsetting that, ‘So Doggone Lonesome’ before it was ratcheted up again with the likes of ‘Maggie Maggie’, Larry Donn’s ‘Honey Bunn’ and Neil once again rattling off Jimmy Patton’s ‘Oakie’s in the Pokie’. Ace encores of ‘Everybody’s Rockin’ and Red Berry’s ‘What a Dolly’. Great stuff.
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Darrel Higham and the Enforcers
Heading for the halfway point in the day, and it’s Darrel Higham and the Enforcers that rocked out next. The regular trio of Darrel on lead guitar and vocals, Adam Miles on upright bass and Rob Tyler on drums. What followed was an hour of Gretsch wielding rockin’ that thrilled the crowd, firing out rockers like ‘Hey Ruby’ and the rollicking romp that is ‘I Knew’.
It wouldn’t be a Darrel set without some Eddie Cochran, and in this case, we got ‘Completely Sweet’, the teen dating anthem, ‘Somethin’ Else’ and the kicking instrumental from ’58, ‘Scratchin’ where the lads channel Eddie, Guybo and Earl Palmer on this heavily reverbed beauty. There was also a tribute to Gene Vincent, ‘Jumpin’ with Gene’ which is described from the stage as completely ripping off every Cliff Gallup guitar riff, although I think I’d prefer, paying tribute to.
Another regular feature of the Enforcers set is ‘The Brain Freeze’, a tune based on the effects of Darrel’s daughter eating an ice cream, along with fan favourite ‘High Class Baby’ and the Boss’ ‘I’m On Fire’. All this was rowdily cheered, prompting ‘Ice Cold’ and the call-to-arms ‘Rockabilly Boogie’. Another triumph from the trio.
It wouldn’t be a Darrel set without some Eddie Cochran, and in this case, we got ‘Completely Sweet’, the teen dating anthem, ‘Somethin’ Else’ and the kicking instrumental from ’58, ‘Scratchin’ where the lads channel Eddie, Guybo and Earl Palmer on this heavily reverbed beauty. There was also a tribute to Gene Vincent, ‘Jumpin’ with Gene’ which is described from the stage as completely ripping off every Cliff Gallup guitar riff, although I think I’d prefer, paying tribute to.
Another regular feature of the Enforcers set is ‘The Brain Freeze’, a tune based on the effects of Darrel’s daughter eating an ice cream, along with fan favourite ‘High Class Baby’ and the Boss’ ‘I’m On Fire’. All this was rowdily cheered, prompting ‘Ice Cold’ and the call-to-arms ‘Rockabilly Boogie’. Another triumph from the trio.
The Sureshots
Apparently until 5.20am on the Saturday morning, the Sureshots’ show was in jeopardy, thanks to the cursed virus. Fortunately for everyone, Gary Allen, John Cavener and Gary Agar (check your drummer fruit machine cards again readers) were able to make the stage, and they drew on the talents of origin lead guitarist, Ian Rhodes, who deputised for Joe Gullian.
Well, this set was a peach from start to finish, with the rather un-PC ‘Snaggletooth Ann’ setting the pace. There’s always loads of interaction with the audience between songs at a Sureshots gig, ‘bants’ I think it’s called by cool kids, of which clearly I’m not one, and this event was no different.
They delivered a set list that was a true soundtrack to most of our youth, with Don Woody’s ‘Barking up the Wrong Tree’, Hayden Thompson’s ‘Fairlane Rock’ and an uplifting version of Don Gibson’s ‘Blue Blue Day’. Great rockers as well, the likes of ‘All I Can Do Is Cry’, ‘Just Thought I’d Set You Straight’ and the frantic ‘We Wanna Boogie’. All we can say is thank heavens for the Track and Trace system to have allowed the Sureshots to have attended the event.
Well, this set was a peach from start to finish, with the rather un-PC ‘Snaggletooth Ann’ setting the pace. There’s always loads of interaction with the audience between songs at a Sureshots gig, ‘bants’ I think it’s called by cool kids, of which clearly I’m not one, and this event was no different.
They delivered a set list that was a true soundtrack to most of our youth, with Don Woody’s ‘Barking up the Wrong Tree’, Hayden Thompson’s ‘Fairlane Rock’ and an uplifting version of Don Gibson’s ‘Blue Blue Day’. Great rockers as well, the likes of ‘All I Can Do Is Cry’, ‘Just Thought I’d Set You Straight’ and the frantic ‘We Wanna Boogie’. All we can say is thank heavens for the Track and Trace system to have allowed the Sureshots to have attended the event.
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Johnny Bach and the Moonshine Boozers
For many, many weeks during the pandemic, people’s sanity was kept in check by the regular Sunday evenings with (curly) John Lewis’ solo sets. Here he was back in the saddle so to speak, as Johnny Bach and the Moonshine Boozers. This features (grab your fruit machine cards again readers) Adam Miles on bass, Darrel Higham on lead guitar with drumming duties courtesy of Gary Agar. John himself provides the vocals and rhythm guitar.
The set is a heterogeneous mix of covers and originals, although the covers are more reworkings in different styles. Take ‘Lula Bop Be’ for example. That’s Gene’s Be Bop a Lula, backwards and done in a Charlie Feathers Rockabilly style. The most frantic Rockabilly song in the world ever ever, Johnny Burnette’s ‘Tear It Up’ was delivered almost as a ballad. ‘Brand New Cadillac’ is hopped up in a Rockabilly bop fashion. And there’s ‘Sam Hall’, an Irish Folk song about an unrepentant murderer, which was given a reworking by Johnny Cash, and features in the Bach catalogue
It's always good to hear the likes of ‘De Bop’ (think a rather unhinged Marvin Rainwater/Hardrock Gunter delivery), ’49 Tons’, the threatening tone of ‘Ice Cold Baby’ and ‘Walking After Midnight’. Great to see John Lewis back on stage instead of his music room on Facebook!
The set is a heterogeneous mix of covers and originals, although the covers are more reworkings in different styles. Take ‘Lula Bop Be’ for example. That’s Gene’s Be Bop a Lula, backwards and done in a Charlie Feathers Rockabilly style. The most frantic Rockabilly song in the world ever ever, Johnny Burnette’s ‘Tear It Up’ was delivered almost as a ballad. ‘Brand New Cadillac’ is hopped up in a Rockabilly bop fashion. And there’s ‘Sam Hall’, an Irish Folk song about an unrepentant murderer, which was given a reworking by Johnny Cash, and features in the Bach catalogue
It's always good to hear the likes of ‘De Bop’ (think a rather unhinged Marvin Rainwater/Hardrock Gunter delivery), ’49 Tons’, the threatening tone of ‘Ice Cold Baby’ and ‘Walking After Midnight’. Great to see John Lewis back on stage instead of his music room on Facebook!
Blue Cats
Every now and then readers, I have to court controversy, and admit to not liking something, Such is the case with the Blue Cats who were on next. That whole Neo sound kind of passed me by at the time, although we thought for this review’s completeness’s sake, and after thirteen years since we last saw them, we’d have another look at their show. The crowd surged down to the front, as ‘Norton Spirit’ rang out, with ‘Who Stole My Blue Suede Shoes’ fizzing along next.
‘Casting My Spell’ rocked out, as did ‘The Tunnel’, (a song I do like a lot) at which point we made our escape from the crush, stage front, and took our leave. I’m guessing the majority of the room dug the sound, and we’ll probably face the social media ducking stool for daring to be a dissenting voice, but at least we’re honest!
‘Casting My Spell’ rocked out, as did ‘The Tunnel’, (a song I do like a lot) at which point we made our escape from the crush, stage front, and took our leave. I’m guessing the majority of the room dug the sound, and we’ll probably face the social media ducking stool for daring to be a dissenting voice, but at least we’re honest!
Jake Calypso
By day, Herve Loison, from France, is a genial fellow, who almost anonymously views his contemporaries onstage with appreciative applause. Get him on stage as Jake Calypso and it’s like he’s passed through a vortex. I won’t say Jekyll and Hyde, that sounds too sinister, and I’ve yet to see him spin round in a cabine téléphonique (phone booth) to become Jake Calypso, but the transformation is quite something. His band, Red Hot, consisted of Christophe Gillet on guitar, Thierry Sellier, and for the UK show, our own Dave Kopke on upright bass.
Let the madness commence, although we should clarify that it’s not all random buffoonery and slapstick, there’s genuine musical and lyrical talent by the charge de brouette. ‘Turn Me Loose’, and original song, opened the show, and already we were in a nutty utopia in the crowd. ‘Rockabilly By Plane’ had an interesting back story about the young Herve wanting to write songs and travel. I think if ‘Call Me Baby’ wasn’t included in the live show, it would kick off big stylie. Mid way through, the sound inadvertently cut to the microphone, so what do we do? Use the audience for the ‘bup-a-bup-a-bup-a-bup-a-bups’. All of the vocal inflections and nuances were there, on what has become, along with ‘My Baby Rocks’ a latter-day classic.
There’s a new CD out by the band, and many of the tracks appeared in this set, ‘Edwige My Girl’, ‘I’m Just a Boppin’ Cat’ and ‘Jeane and Jane’ for example. Check out later in the new releases section of the magazine for a full review. To be honest though, he could have read the telephone directory, if such a thing still exists, because everyone was into the onstage theatrics, in what was a brilliant way to end Saturday’s live entertainment.
Let the madness commence, although we should clarify that it’s not all random buffoonery and slapstick, there’s genuine musical and lyrical talent by the charge de brouette. ‘Turn Me Loose’, and original song, opened the show, and already we were in a nutty utopia in the crowd. ‘Rockabilly By Plane’ had an interesting back story about the young Herve wanting to write songs and travel. I think if ‘Call Me Baby’ wasn’t included in the live show, it would kick off big stylie. Mid way through, the sound inadvertently cut to the microphone, so what do we do? Use the audience for the ‘bup-a-bup-a-bup-a-bup-a-bups’. All of the vocal inflections and nuances were there, on what has become, along with ‘My Baby Rocks’ a latter-day classic.
There’s a new CD out by the band, and many of the tracks appeared in this set, ‘Edwige My Girl’, ‘I’m Just a Boppin’ Cat’ and ‘Jeane and Jane’ for example. Check out later in the new releases section of the magazine for a full review. To be honest though, he could have read the telephone directory, if such a thing still exists, because everyone was into the onstage theatrics, in what was a brilliant way to end Saturday’s live entertainment.
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The Fireballs UK
Sunday, and the first band on, was another first for us. For some reason the Fireballs UK have eluded us. So many times, we’ve been ready to go to a gig to see them, and, the club’s closed, the promoter cancelled, there was four feet of snow, we were promised forth, a worldwide pandemic etc etc. Well, it’s going to happen at the Blowout!
This is a family affair, with lead singer and bassist Martin Smith and his two sons Anthony Smith on lead guitar, and Russel Smith* with drummer Darren Brown. The looked really sharp in their dark drape suits, and shoes so shiny you could see someone else’s face in them. They perform mainly British Rock n Roll, I know the social media vultures are ready to swoop when I mention one instrumental, but take heart, we know!
Who do you think of, when considering British Rock n Roll? Cliff Richard, Tommy Steele, Billy Fury, Shane Fenton? Probably, and indeed it was Cliff’s 1960 cut with the Shadows, ‘Choppin’ and Changin’ that revved up what was a memorable set list. While on the Cliff edge, we’ll flag up their version of ‘Gee Whizz, It’s You’ as well. Lead singer Martin is accomplished and demonstrative on stage, Anthony, full of nervous energy moving around while delivering blistering guitar solos, while Russel adopts the more static, concentrated pose on rhythm. All this is driven along by Darren in the engine room.
Shane Fenton, someone a lot of us our ages, discovered after his glam rock persona of the 70’s, thus unearthing the beauties recounted here ‘It’s Gonna Take Magic’ and ‘I’m a Moody Guy’. In a couple of years in the late ‘50’s Tommy Steele recorded some of the most memorable British tracks. And the Fireballs chose the excellent ‘Give, Give, Give’ which was a joy, as was Billy Fury’s ‘Type a Letter’, and ‘Do You Really Love Me Too’.
The set also included some lesser performed British tracks, the Cougars’ ‘Saturday Nite at the Duckpond’ from ’63 (banned by the BBC as it copied parts of Tchaikovsky’s Swan Lake), Dickie Pride’s ‘Fabulous Cure’ and Bobby Angelo’s only chart single ‘Baby Sittin’ from ’61. All that plus searing guitar instrumentals, ‘The Cruel Sea’ (Dakotas) and ‘Goofin’ Around’. Outstanding set readers
This is a family affair, with lead singer and bassist Martin Smith and his two sons Anthony Smith on lead guitar, and Russel Smith* with drummer Darren Brown. The looked really sharp in their dark drape suits, and shoes so shiny you could see someone else’s face in them. They perform mainly British Rock n Roll, I know the social media vultures are ready to swoop when I mention one instrumental, but take heart, we know!
Who do you think of, when considering British Rock n Roll? Cliff Richard, Tommy Steele, Billy Fury, Shane Fenton? Probably, and indeed it was Cliff’s 1960 cut with the Shadows, ‘Choppin’ and Changin’ that revved up what was a memorable set list. While on the Cliff edge, we’ll flag up their version of ‘Gee Whizz, It’s You’ as well. Lead singer Martin is accomplished and demonstrative on stage, Anthony, full of nervous energy moving around while delivering blistering guitar solos, while Russel adopts the more static, concentrated pose on rhythm. All this is driven along by Darren in the engine room.
Shane Fenton, someone a lot of us our ages, discovered after his glam rock persona of the 70’s, thus unearthing the beauties recounted here ‘It’s Gonna Take Magic’ and ‘I’m a Moody Guy’. In a couple of years in the late ‘50’s Tommy Steele recorded some of the most memorable British tracks. And the Fireballs chose the excellent ‘Give, Give, Give’ which was a joy, as was Billy Fury’s ‘Type a Letter’, and ‘Do You Really Love Me Too’.
The set also included some lesser performed British tracks, the Cougars’ ‘Saturday Nite at the Duckpond’ from ’63 (banned by the BBC as it copied parts of Tchaikovsky’s Swan Lake), Dickie Pride’s ‘Fabulous Cure’ and Bobby Angelo’s only chart single ‘Baby Sittin’ from ’61. All that plus searing guitar instrumentals, ‘The Cruel Sea’ (Dakotas) and ‘Goofin’ Around’. Outstanding set readers
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Tex Speed Combo
From the sublime to the…..well you work it out, as the Reverend Mark Ellington (disclaimer, not a real Reverend) passed a blessing over the crowd as the Tex Speed Combo took the stage. Ellie had a myriad of different percussive instruments at his disposal, including a cowbell, maracas and a thing that went ‘prrrrr’. Each was randomly employed throughout the set, which opened up with Johnny Horton’s ‘Honky Tonk Mind’ and ramped up with Dennis Herrold’s ‘Make With The Lovin’.
Interspersing the breaks between songs with obscure references to the way people from the North West say ‘sunshine’ and recounting tales, of not being able to recount tales (sic), the guys powered through ‘Lights Out Baby’, ‘Gangwar’ and Carl Perkins’ ‘The Unhappy Girls’. It would be easy to dismiss the stage antics as a smokescreen, but take it from us folks, these guys are seriously talented, and they love their craft, down to bassist and self-confessed ‘looking like a miserable b*st*rd while I’m up there’, Andy Zikez, who seamlessly switches between slap bass, walking bass and electric bass with consummate ease. The precision of guitarist Paul Murphy is impressive on its own, but with the added distraction of Ellie rolling about the stage, legs akimbo, it’s something to admire, and Paul O’Donnell keeps it real on the cans
The hits kept on coming with ‘Mary Ann’, ‘Lou Ann’ and ‘Buttercup’ getting the Tex Speed treatment. A really upbeat, humorous, out-to-lunch, varied and above all, entertaining set.
Interspersing the breaks between songs with obscure references to the way people from the North West say ‘sunshine’ and recounting tales, of not being able to recount tales (sic), the guys powered through ‘Lights Out Baby’, ‘Gangwar’ and Carl Perkins’ ‘The Unhappy Girls’. It would be easy to dismiss the stage antics as a smokescreen, but take it from us folks, these guys are seriously talented, and they love their craft, down to bassist and self-confessed ‘looking like a miserable b*st*rd while I’m up there’, Andy Zikez, who seamlessly switches between slap bass, walking bass and electric bass with consummate ease. The precision of guitarist Paul Murphy is impressive on its own, but with the added distraction of Ellie rolling about the stage, legs akimbo, it’s something to admire, and Paul O’Donnell keeps it real on the cans
The hits kept on coming with ‘Mary Ann’, ‘Lou Ann’ and ‘Buttercup’ getting the Tex Speed treatment. A really upbeat, humorous, out-to-lunch, varied and above all, entertaining set.
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LP and his Dirty White Bucks
For some of the purest Rockabilly you’re likely to hear, check out, as we did, L.P and his Dirty White Bucks. They are made up of lead singer and rhythm guitarist, Les Prendergast, lead guitarist Dave Flynn, Jim O’Neil on the upright bass and drummer Trev Collins. Les looking sharp in his white jacket and black pegs (we can confirm his white bucks on this occasion, were not dirty!), and demonstratively slinging his Gibson acoustic, launched into Clyde Arnold’s ‘Black Smoke Blue Tears’ a driving rocker, perfectly suited to the band’s style.
From their recently released 45rpm, ‘Man From Laramie’, which isn’t a cover of the Jimmy Young song, and the similarity between the plot of the 1955 film, ends with the title. This song, features a western sounding guitar throughout, with that saloon in a dusty town feeling. The lyrics detail a tale of lost love to a guy who portrays himself as a movie star, that LP refers to as the ‘Man from Laramie’. You can see how it all ties together, and the guitar riffs accompanying Les’ vocals, to this lively beat, are perfect.
The flip of the 45 also appeared in the set. ‘Up and Go’, is a thumping slab of classically formed Rockabilly, great tick on the bass, and searing guitar riffs. This is your characteristic dancehall scene, couple digging the music in a dancehall, only for ‘Big Joe’ to come in spoil it all, causing our couple to need to leave. It’s one you need in your collection readers.
A few covers also standing out among the standouts, in the set included Benny Cliff’s bopping odd-ballery ‘Shake ‘Em Up Rock’, Floyd Fletcher’s ‘Move On Down The Track’, Vic Gallon’s ‘I’m Gone’ and Scotty McKay’s ‘Cry Me a River’. Four guys on tip top form.
From their recently released 45rpm, ‘Man From Laramie’, which isn’t a cover of the Jimmy Young song, and the similarity between the plot of the 1955 film, ends with the title. This song, features a western sounding guitar throughout, with that saloon in a dusty town feeling. The lyrics detail a tale of lost love to a guy who portrays himself as a movie star, that LP refers to as the ‘Man from Laramie’. You can see how it all ties together, and the guitar riffs accompanying Les’ vocals, to this lively beat, are perfect.
The flip of the 45 also appeared in the set. ‘Up and Go’, is a thumping slab of classically formed Rockabilly, great tick on the bass, and searing guitar riffs. This is your characteristic dancehall scene, couple digging the music in a dancehall, only for ‘Big Joe’ to come in spoil it all, causing our couple to need to leave. It’s one you need in your collection readers.
A few covers also standing out among the standouts, in the set included Benny Cliff’s bopping odd-ballery ‘Shake ‘Em Up Rock’, Floyd Fletcher’s ‘Move On Down The Track’, Vic Gallon’s ‘I’m Gone’ and Scotty McKay’s ‘Cry Me a River’. Four guys on tip top form.
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The Jive Romeros
A switch of gears again next, with the sharp, white tuxedoes of the Jive Romeros, and their brand of feel-good Rock n Roll. Whenever these guys play there’s always a joyous ambience in the room, with lead singer Martyn Clark, the charismatic frontman engaging with the crowd throughout. Boyd Bennett’s ‘Rockin’ up a Storm’ was the fitting opener, to a set choc full of upbeat jive stuff. Tommy’s ‘Rock Around the Town’, Mike Pedicin’s ‘Jackpot’ and the Bill Haley styled ‘Sweet Sue’.
I’d defy anyone to keep their toes from tapping to Tony Crombie’s ‘Let’s You and I Rock’, with Zac Zdravkovic’s flawless guitar picking, complemented by new full-time Romero, John Dobinson on sax. The line-up is completed with Dave Wilkes on drums and the ever-present Ritchie Crabtree on bass. The crowd were well into the Haley tracks ‘Tonight’s The Night’, ‘Hey Then There Now’, ‘Dipsy Doodle’, and the Jodimars’ ‘Well Now Dig This’. They also dip into the slightly more obscure with Snooky Lanson’s 1955 ‘B’ side ‘Stop (Get Me Off The Bus) and Vince Riccio’s (or Kenny Ball if you will) ‘I Still Love You All’.
Topping it all off as per usual, is the crescendo of ‘Here Comes The Green Light’, and another Tony Crombie rocker, ‘Sticks and Stones’. This band is a party on a stage, that takes all the audience with them.
I’d defy anyone to keep their toes from tapping to Tony Crombie’s ‘Let’s You and I Rock’, with Zac Zdravkovic’s flawless guitar picking, complemented by new full-time Romero, John Dobinson on sax. The line-up is completed with Dave Wilkes on drums and the ever-present Ritchie Crabtree on bass. The crowd were well into the Haley tracks ‘Tonight’s The Night’, ‘Hey Then There Now’, ‘Dipsy Doodle’, and the Jodimars’ ‘Well Now Dig This’. They also dip into the slightly more obscure with Snooky Lanson’s 1955 ‘B’ side ‘Stop (Get Me Off The Bus) and Vince Riccio’s (or Kenny Ball if you will) ‘I Still Love You All’.
Topping it all off as per usual, is the crescendo of ‘Here Comes The Green Light’, and another Tony Crombie rocker, ‘Sticks and Stones’. This band is a party on a stage, that takes all the audience with them.
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Phil Haley and his Comments
The final act picked up where the Jive Romeros left off. Phil Haley and his Comments, super sharp as always in their black and white plaid tux jackets, brought their Haley-esque sound to the Blowout to end with a blast. The well established four-piece consist of Phil Haley on lead guitar and vocals, the ever-demonstrative Martyn Savage on upright bass, Allen Parris blowing up a storm on sax and drummer Gary Davidson. Combine these talents, and you have the purest Rock ‘n’ Roll sound.
If ever there was a song that everyone knew in the room, it’s ‘Shake Rattle and Roll’, which opened the show. Another standard followed, the Blackwell/Marascalo classic ‘Rip It Up’, before the perfect segues of ‘Rudy’s Rock’ featuring Allen Parris on sax and ‘Goofin’ Around’ featuring Phil on the guitar. There’s also on-stage antics, bass fiddles almost touching the ceiling, being climbed on, a typically energetic Comments show.
This set is a proper treasure chest of Rock n Roll gems, ‘Don’t Knock the Rock’ from the film of that name, ‘Hide and Seek’, ‘R.O.C.K’, ‘Tonight’s The Night’ and ‘Real Rock Drive’ for example. Good to hear ‘One Sweet Letter’, a Bill Haley song you don’t always hear covered, and ‘A Little Piece Of Heaven’ which is from a CD nearly twenty years old for heaven’s sake! It’s unlikely they’d get off the stage without performing ‘Talk To Me’, and for that matter ‘Rock Around the Clock’. Classic stuff, and a fitting end to a brilliant day.
If ever there was a song that everyone knew in the room, it’s ‘Shake Rattle and Roll’, which opened the show. Another standard followed, the Blackwell/Marascalo classic ‘Rip It Up’, before the perfect segues of ‘Rudy’s Rock’ featuring Allen Parris on sax and ‘Goofin’ Around’ featuring Phil on the guitar. There’s also on-stage antics, bass fiddles almost touching the ceiling, being climbed on, a typically energetic Comments show.
This set is a proper treasure chest of Rock n Roll gems, ‘Don’t Knock the Rock’ from the film of that name, ‘Hide and Seek’, ‘R.O.C.K’, ‘Tonight’s The Night’ and ‘Real Rock Drive’ for example. Good to hear ‘One Sweet Letter’, a Bill Haley song you don’t always hear covered, and ‘A Little Piece Of Heaven’ which is from a CD nearly twenty years old for heaven’s sake! It’s unlikely they’d get off the stage without performing ‘Talk To Me’, and for that matter ‘Rock Around the Clock’. Classic stuff, and a fitting end to a brilliant day.
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Blowout dot….dot. Best tracks in the world ever ever at the Blowout this time out were Ersel Hicky’s ‘You Threw a Dart’, Billy Briggs’ ‘Chew Tobacco Rag No. 2’ and Thurston Harris’ version of ‘Little Bitty Pretty One’…….*To quash any thoughts of nepotism, given our names are the same as the Fireballs UK, we can confirm we are not related. By the way Martin, mum says when your passing can she have her shears back please 😊 😉…… Behind every organiser is a great team, and rightly, Kev Robson’s team got the recognition on the Sunday night…….The DJ hall in our opinion was a massive hit……..Whilst on the subject of the DJs, mentions must be given to their contributions to keeping the quality of records going. Role call for those whose sets we encountered, Craig Simpson, Andy Barker, Lightnin’ Lee, Rob Daniels, Simon Flintstone, Be Bop Kaz, Rob Bosher, Sideburns Steve, Courtney Oakes and Deadwood Drifter…………We must mention Clive Hodgson’s Red Planet Rock on his own as this marked his fiftieth year anniversary as a rocking DJ…….How did you do on your drummer-fruit machine? Are Kemlos worth more than Agars? Like cherries, bells and the like. Three of the same is equivalent to three bells and a watermelon………
This event, was the bizzo, plain and simple. For many, us included, it was the first weekender since the pandemic put a hold on everything, and there was a palpable joy in those that attended. The event was well organised from the team outside in the fluorescent vests organising the arrivals, through the staff and crews on site and in the venues. The all British (and one French) band line up, was varied and diverse. And in November 2022, they’ll do it all again 4th, 5th and 6th .
Have you enjoyed this review? Do you like what you see? Help us keep it free by popping us a donation by using the button below. Many thanks
This event, was the bizzo, plain and simple. For many, us included, it was the first weekender since the pandemic put a hold on everything, and there was a palpable joy in those that attended. The event was well organised from the team outside in the fluorescent vests organising the arrivals, through the staff and crews on site and in the venues. The all British (and one French) band line up, was varied and diverse. And in November 2022, they’ll do it all again 4th, 5th and 6th .
Have you enjoyed this review? Do you like what you see? Help us keep it free by popping us a donation by using the button below. Many thanks
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cd and vinyl reviews
A selection of the latest reviews and repro records and CDs available at record dealers including Bim Bam. Click on the banner
Rockabilly Star – Jake Calypso and his Red Hot
CD review
Herve Loison’s alter ego, Jake Calypso, has delighted audiences accompanied by his band, Red Hot, with their enthusiastic, energetic, peppy and a little unbalanced stage shows. Behind the leaping and jumping, is a group of fine musicians and a lead singer-songwriter, with a talent to produce some excellent recordings.
The line up on this album, is Jake Calypso on rhythm guitar and vocals, Christophe Gillet on lead guitar, Thierry Sellier on drums and Ben D Driver slapping the bass. All of the songs are originals and with the exception of ‘21st Century Boy’, written between 1982 and 1985. We start with ‘Rockabilly By Plane’ which is a growling guitar of a track, heavy on the reverb, featuring a killer guitar solo. I think from memory, Herve said he was thirteen when he wrote this.
If a song could immediately sum up the Jake Calypso style, it would be ‘Jeanne and Jane’. A thumping, bopping, back beat, his trademark vocal inflections. That is followed by a seriously good Country-meets-Rockabilly mid-tempo bop treat ‘Blue Moon Bill. It’s raw and driven along expertly by some top-drawer slap bass. Picking up the pace a bit is ‘I’m Just a Boppin’ Cat’, a kind of autobiographical account of the young Herve, which has a Big Bopper feel to it.
A contrast next, as ‘If I Knew How’ rambles along Country style, with Jake’s vocals atmospheric and echoey. The instruments are cleverly restrained, showcasing the acoustic rhythm guitar. ‘My Baby’s Gone’ could have come from the vaults of a recording studio in Memphis in 1956, it’s resonance and rhythm is so authentically presented. It has that start-stop style, which will have the listener wondering just where they might have heard it before. Purest Rockabilly this one, folks.
The title track, ‘Rockabilly Star’ is a real barn burner, with a thumping bass beat, zippy rhythm and a searing guitar break. The vocals relate, how the young Jake wanted to be a star like his favourite stars, named within the lyrics. A super cool stroller follows, ‘Edwige My Girl’. It made us wonder if this was in tribute to the actress Edwige Fenech. Whatever, it’s just such an exquisitely infectious rhythm, it could fill dance floors everywhere for sure.
You want off-the-wall? You got it in ‘Alone With My Cats and Dogs’, which starts a bit like ‘Baby Let’s Play House’, however from there, it’s nothing like it! Don’t try to read anything deep into the lyrics or the delivery, cos it’s basically two and a quarter minute of nuts, and ‘folie’. Another out and out rocker follows with ‘She Bops Around the Clock’ featuring some exemplary lead guitar work from Christophe throughout.
A ballad? Why not. Here’s ‘I Kept Our Love’, which has a Country vibe, as it rambles along with touching lyrics and deft guitar work, with, I’d suggest, a Hank Williams feel. The track list concludes with ‘21st Century Boy’, which also has a Buddy Holly meets the modern day feel to it, and a powerhouse backing.
There’s a dozen delights on this CD, all presented in an open-out sleeve with some interesting notes. The vocal range and diversity of delivery is impressive, the variation of songs styles keeps the listener on their toes throughout. It contains some of Jake Calypso’s best work, and to think they were conceived over thirty years ago.
If you have or if you haven’t seen the stage show, it won’t make any difference. This is a first class release
CD review
Herve Loison’s alter ego, Jake Calypso, has delighted audiences accompanied by his band, Red Hot, with their enthusiastic, energetic, peppy and a little unbalanced stage shows. Behind the leaping and jumping, is a group of fine musicians and a lead singer-songwriter, with a talent to produce some excellent recordings.
The line up on this album, is Jake Calypso on rhythm guitar and vocals, Christophe Gillet on lead guitar, Thierry Sellier on drums and Ben D Driver slapping the bass. All of the songs are originals and with the exception of ‘21st Century Boy’, written between 1982 and 1985. We start with ‘Rockabilly By Plane’ which is a growling guitar of a track, heavy on the reverb, featuring a killer guitar solo. I think from memory, Herve said he was thirteen when he wrote this.
If a song could immediately sum up the Jake Calypso style, it would be ‘Jeanne and Jane’. A thumping, bopping, back beat, his trademark vocal inflections. That is followed by a seriously good Country-meets-Rockabilly mid-tempo bop treat ‘Blue Moon Bill. It’s raw and driven along expertly by some top-drawer slap bass. Picking up the pace a bit is ‘I’m Just a Boppin’ Cat’, a kind of autobiographical account of the young Herve, which has a Big Bopper feel to it.
A contrast next, as ‘If I Knew How’ rambles along Country style, with Jake’s vocals atmospheric and echoey. The instruments are cleverly restrained, showcasing the acoustic rhythm guitar. ‘My Baby’s Gone’ could have come from the vaults of a recording studio in Memphis in 1956, it’s resonance and rhythm is so authentically presented. It has that start-stop style, which will have the listener wondering just where they might have heard it before. Purest Rockabilly this one, folks.
The title track, ‘Rockabilly Star’ is a real barn burner, with a thumping bass beat, zippy rhythm and a searing guitar break. The vocals relate, how the young Jake wanted to be a star like his favourite stars, named within the lyrics. A super cool stroller follows, ‘Edwige My Girl’. It made us wonder if this was in tribute to the actress Edwige Fenech. Whatever, it’s just such an exquisitely infectious rhythm, it could fill dance floors everywhere for sure.
You want off-the-wall? You got it in ‘Alone With My Cats and Dogs’, which starts a bit like ‘Baby Let’s Play House’, however from there, it’s nothing like it! Don’t try to read anything deep into the lyrics or the delivery, cos it’s basically two and a quarter minute of nuts, and ‘folie’. Another out and out rocker follows with ‘She Bops Around the Clock’ featuring some exemplary lead guitar work from Christophe throughout.
A ballad? Why not. Here’s ‘I Kept Our Love’, which has a Country vibe, as it rambles along with touching lyrics and deft guitar work, with, I’d suggest, a Hank Williams feel. The track list concludes with ‘21st Century Boy’, which also has a Buddy Holly meets the modern day feel to it, and a powerhouse backing.
There’s a dozen delights on this CD, all presented in an open-out sleeve with some interesting notes. The vocal range and diversity of delivery is impressive, the variation of songs styles keeps the listener on their toes throughout. It contains some of Jake Calypso’s best work, and to think they were conceived over thirty years ago.
If you have or if you haven’t seen the stage show, it won’t make any difference. This is a first class release
Chris Wayne – Fiona
Chris Wayne is an independent musician from Greenville, South Carolina. He plays a 1950’s styled combination of Americana, Country and Rockabilly, style. The track for the single release is ‘Fiona’ which has a late 50’s early 60’s resonance. Described as a ‘crooner with an edge’, Chris performs this easy-tempo tune, relating to Fiona being Cinderella and him being the worn out shoe, with considerable vocal assurance. It also features a catchy guitar riff and solo. Look out for more from Chris Wayne, readers.
Chris Wayne is an independent musician from Greenville, South Carolina. He plays a 1950’s styled combination of Americana, Country and Rockabilly, style. The track for the single release is ‘Fiona’ which has a late 50’s early 60’s resonance. Described as a ‘crooner with an edge’, Chris performs this easy-tempo tune, relating to Fiona being Cinderella and him being the worn out shoe, with considerable vocal assurance. It also features a catchy guitar riff and solo. Look out for more from Chris Wayne, readers.
John Lee Hooker – repro 45
John Lee Hooker (early 1900’s – 2001) was a one of the most influential American Blues singers and songwriters of the twentieth century. His style of a few guitar chords and simple and catchy riffs, to his own compositions, made him a pioneer in his genre. Here FTM records pair together two classic songs.
The first, is also Hooker’s first hit, ‘Boogie Chillen’, first recorded in September 1948. This was Hooker’s own composition, and the lyrics were conceived whilst he was illiterate. It has him playing his guitar and providing his own percussion by stomping his foot. It is simplistic and primitive and above all in a class all by itself. Today it sounds as unique as ever it did
Flip it over and ‘wwaaaaahhh yeah’ it’s ‘Shake It Baby’ from some fifteen years after ‘Chillen’. This follows a similar guitar style of a couple of chords, although he does have bass and drums, on this track. It’s a defiant lyric, don’t care what the parents say, just shake it baby.
Two fantastic tunes on a very limited 45rpm
John Lee Hooker (early 1900’s – 2001) was a one of the most influential American Blues singers and songwriters of the twentieth century. His style of a few guitar chords and simple and catchy riffs, to his own compositions, made him a pioneer in his genre. Here FTM records pair together two classic songs.
The first, is also Hooker’s first hit, ‘Boogie Chillen’, first recorded in September 1948. This was Hooker’s own composition, and the lyrics were conceived whilst he was illiterate. It has him playing his guitar and providing his own percussion by stomping his foot. It is simplistic and primitive and above all in a class all by itself. Today it sounds as unique as ever it did
Flip it over and ‘wwaaaaahhh yeah’ it’s ‘Shake It Baby’ from some fifteen years after ‘Chillen’. This follows a similar guitar style of a couple of chords, although he does have bass and drums, on this track. It’s a defiant lyric, don’t care what the parents say, just shake it baby.
Two fantastic tunes on a very limited 45rpm
King D & The Royals of Rhythm – 45rp review
This combo from Austria were formed in 2010, and produce one of the coolest Rockabilly sounds on the planet. No better is it demonstrated than on this 45rpm on Spain’s Sleazy Records. It pairs together two top drawer original tracks that are a delight from the opening bars.
‘Sweet Lovin’ written by Mario David, rocks along in an almost restrained way, but it’s hugely effective. On the ‘B’ side it’s ‘Swing and Roll’, a cracking jiver, which combines the bounce of Rockabilly, with a dance tempo and two very familiar guitar breaks (did someone say ‘Race With The Devil’?)
Top drawer
This combo from Austria were formed in 2010, and produce one of the coolest Rockabilly sounds on the planet. No better is it demonstrated than on this 45rpm on Spain’s Sleazy Records. It pairs together two top drawer original tracks that are a delight from the opening bars.
‘Sweet Lovin’ written by Mario David, rocks along in an almost restrained way, but it’s hugely effective. On the ‘B’ side it’s ‘Swing and Roll’, a cracking jiver, which combines the bounce of Rockabilly, with a dance tempo and two very familiar guitar breaks (did someone say ‘Race With The Devil’?)
Top drawer
Let’s Rock – Jackson Sloan & Graham Fenton
You know what readers, there are some songs that as soon as you hear them, you get feeling that they are going to fill dancefloors whenever they get played. Pairing together one of the mainstays of British Rockabilly from our youth, Graham Fenton of Matchbox, and the towering talent of R&B officiando, Jackson Sloan nudged our interest before we even heard the track.
‘Let’s Rock’ is a Jackson Sloan original song and three and a half minutes of everything you’d expect from a Rock n Roll track. Super cool rhythm with Steve Oliver on guitar, Vic Collins on steel, and drummer Jay Charles. The vocals are shared equally, and articulate the feel-good factor of the beat perfectly. Folks, it’s got that winning formula that Sloan tunes like ‘Kicking Up The Dust’ has
The flip has an instrumental version of the same song, which benefits from Ray Gelato’s exquisite sax playing and Vic Collins on guitar.
The 7” will be released on Sleazy Records soon (has been if you are reading this in the archives!)
You know what readers, there are some songs that as soon as you hear them, you get feeling that they are going to fill dancefloors whenever they get played. Pairing together one of the mainstays of British Rockabilly from our youth, Graham Fenton of Matchbox, and the towering talent of R&B officiando, Jackson Sloan nudged our interest before we even heard the track.
‘Let’s Rock’ is a Jackson Sloan original song and three and a half minutes of everything you’d expect from a Rock n Roll track. Super cool rhythm with Steve Oliver on guitar, Vic Collins on steel, and drummer Jay Charles. The vocals are shared equally, and articulate the feel-good factor of the beat perfectly. Folks, it’s got that winning formula that Sloan tunes like ‘Kicking Up The Dust’ has
The flip has an instrumental version of the same song, which benefits from Ray Gelato’s exquisite sax playing and Vic Collins on guitar.
The 7” will be released on Sleazy Records soon (has been if you are reading this in the archives!)
The Sirocco Brothers – 45rpm release
Mrs Mainwaring, Maris Crane, Vera Peterson, Charlie in Charlie’s Angels. They ain’t rockin’ what’s the matter here. Well, they are all a little like the mysterious band The Sirocco Brothers, (Adam Wakefield & Paul Sheahan) you know them, you know they are there, but you never really see them. We know the Sirocco Brothers from a string of mighty rockers they’ve released, and here’s another cracking twin spin.
Their subject matter, often covers spooky, furtive and shadowy themes as well as voodoo and curiously crafted lyrics. ‘Mojo’ keeps up with that trend, heavily reverb on the vocals, thumping drum and repetitive guitar riff, and a typically sinister undertone to the lyrics and vocals. ‘The Sun Shines Down on the Graveyard’ has a slightly quicker tempo, with suitably macabre vocalising.
An ace 7” on Rollin Records
Mrs Mainwaring, Maris Crane, Vera Peterson, Charlie in Charlie’s Angels. They ain’t rockin’ what’s the matter here. Well, they are all a little like the mysterious band The Sirocco Brothers, (Adam Wakefield & Paul Sheahan) you know them, you know they are there, but you never really see them. We know the Sirocco Brothers from a string of mighty rockers they’ve released, and here’s another cracking twin spin.
Their subject matter, often covers spooky, furtive and shadowy themes as well as voodoo and curiously crafted lyrics. ‘Mojo’ keeps up with that trend, heavily reverb on the vocals, thumping drum and repetitive guitar riff, and a typically sinister undertone to the lyrics and vocals. ‘The Sun Shines Down on the Graveyard’ has a slightly quicker tempo, with suitably macabre vocalising.
An ace 7” on Rollin Records
Steve Hooker – vinyl 45
Steve Hooker has been producing raw and hard hitting, guitar driven Blues and Rockabilly for many years now. This 45rpm single pairs together two fine examples, of his electric Blues style.
‘Old Testament of Love’ grabs you from the opening bars, with it’s funky electric bass, and growling guitar, with additional twang in the solo. Powerhouse electric blues, with a Garage edge folks.
On the ‘B’ side, ‘Tighten It’ which is a cracking foot-stomping instrumental Blues stroller.
Top twin spin
Steve Hooker has been producing raw and hard hitting, guitar driven Blues and Rockabilly for many years now. This 45rpm single pairs together two fine examples, of his electric Blues style.
‘Old Testament of Love’ grabs you from the opening bars, with it’s funky electric bass, and growling guitar, with additional twang in the solo. Powerhouse electric blues, with a Garage edge folks.
On the ‘B’ side, ‘Tighten It’ which is a cracking foot-stomping instrumental Blues stroller.
Top twin spin
The Kaisers! – 45rpm review
Mark Phillip’s FTM Records has done it again. This rocking beat single ‘That Kind of Fun’ by the Glasgow based four piece, the Kaisers! ticks all the boxes. It rocks and rolls as well as swings in an early sixties style, with the kind of beat you can’t help but groove to.
Lead guitarist and singer George Miller slings a red Airline guitar with consummate ease, and also takes the majority of the vocals. He’s backed by Mark, Gus and Johnny on bass guitar, rhythm guitar and drums respectively. Flip the single over and if your preference is for the same song without the vocals, check out the instrumental.
This single as with many in the FTM catalogue is in limited supply, and as far as we are aware, the cream vinyl ones are all gone. Make sure you get one of the black vinyl ones, readers. You will not be disappointed.
Mark Phillip’s FTM Records has done it again. This rocking beat single ‘That Kind of Fun’ by the Glasgow based four piece, the Kaisers! ticks all the boxes. It rocks and rolls as well as swings in an early sixties style, with the kind of beat you can’t help but groove to.
Lead guitarist and singer George Miller slings a red Airline guitar with consummate ease, and also takes the majority of the vocals. He’s backed by Mark, Gus and Johnny on bass guitar, rhythm guitar and drums respectively. Flip the single over and if your preference is for the same song without the vocals, check out the instrumental.
This single as with many in the FTM catalogue is in limited supply, and as far as we are aware, the cream vinyl ones are all gone. Make sure you get one of the black vinyl ones, readers. You will not be disappointed.
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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 and publications. Get in touch at [email protected] 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. It's much more exiting than two cans and a takeaway in front of the telly.
As we are able to get out and about now, if you would like 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
Next month. Our review of the Hemsby Rock n Roll Weekender among the other delights
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 and publications. Get in touch at [email protected] 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. It's much more exiting than two cans and a takeaway in front of the telly.
As we are able to get out and about now, if you would like 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/
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email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
Next month. Our review of the Hemsby Rock n Roll Weekender among the other delights
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
