the bettajive Review magazine #23
Welcome to our latest magazine upload featuring our comprehensive review of Hemsby 63 including the performance by the Jets, pictured above. This was our second weekender in as many weeks, and it also marks the last one of 2021. As I write this opening piece, we are currently experiencing another Covid-19 wave of infection with the Omicron variant. As we have with all our uploads during the pandemic, we continue to publish current UK Government advice
We would like to keep The Bettajive Review magazine free to read, and we rely on paid adverts and donations. If you would like to make a donation than please use the button below. Many thanks and enjoy this latest upload
We would like to keep The Bettajive Review magazine free to read, and we rely on paid adverts and donations. If you would like to make a donation than please use the button below. Many thanks and enjoy this latest upload
The Bettajive Review
Survival. Are you a virgin? Hold on hold on, not in that sense, necessarily. I mean are you a Hemsby, Shakedown, Hot Rod Hayride, Rockabilly Rave, Rhythm Riot or other festival virgin for example? It looks like the weekenders could be/will be returning in earnest in 2022, although I write this in mid-omicron wave. You might be planning to go to your first one, or make a welcome return to the weekender circuit. If you’re planning to go, how about a few Bettajive Review tips on how to survive? Incidentally, as a disclaimer, these refer to no particular site, venue, event or weekender, and any familiarity to same, is purely co-incidental…..honest
You know what readers, my first weekender (at Ladbrokes, Caister 1981), there were four of us lads in one chalet, and for that matter, in my Escort estate on the journey there. Four lots of luggage and four lads….hmmm. At Hemsby most recently, (see review below) in our car, with all the chattels we cart around, there’s just about room for June! I was going to catalogue your guide in alphabetical order, but I’d take up the whole magazine, so here are a few essentials.
Arrival. Your journey, however well planned, and however early you leave you will encounter either of the following. On the road ahead of you, a small tin of beans will fall out of a van on the main arterial route from your house, to the weekender site, which will result in the police surrounding it with cones, half a dozen police vehicles with flashing lights and the Highways Agency closing the road for six hours, thus diverting everyone to the south coast of England, via Inverness. If not, regardless of when you set out and arrive, there will be no parking spaces left, groups of people already settled in their chalets and in the bar, which has always baffled me.
Survival. Are you a virgin? Hold on hold on, not in that sense, necessarily. I mean are you a Hemsby, Shakedown, Hot Rod Hayride, Rockabilly Rave, Rhythm Riot or other festival virgin for example? It looks like the weekenders could be/will be returning in earnest in 2022, although I write this in mid-omicron wave. You might be planning to go to your first one, or make a welcome return to the weekender circuit. If you’re planning to go, how about a few Bettajive Review tips on how to survive? Incidentally, as a disclaimer, these refer to no particular site, venue, event or weekender, and any familiarity to same, is purely co-incidental…..honest
You know what readers, my first weekender (at Ladbrokes, Caister 1981), there were four of us lads in one chalet, and for that matter, in my Escort estate on the journey there. Four lots of luggage and four lads….hmmm. At Hemsby most recently, (see review below) in our car, with all the chattels we cart around, there’s just about room for June! I was going to catalogue your guide in alphabetical order, but I’d take up the whole magazine, so here are a few essentials.
Arrival. Your journey, however well planned, and however early you leave you will encounter either of the following. On the road ahead of you, a small tin of beans will fall out of a van on the main arterial route from your house, to the weekender site, which will result in the police surrounding it with cones, half a dozen police vehicles with flashing lights and the Highways Agency closing the road for six hours, thus diverting everyone to the south coast of England, via Inverness. If not, regardless of when you set out and arrive, there will be no parking spaces left, groups of people already settled in their chalets and in the bar, which has always baffled me.
When you finally arrive, you have to go to reception to book in. It’s always crowded, so be prepared to be amazed, bumped, mistaken for someone else, have your view eclipsed by tall people, thrilled, disorientated by sound, goosed, surprised, deafened, startled and wowed. People will even forget their own name when faced with a booking form. The worst feeling is when the folk behind the desk, flip through every box of booking forms, and can't find yours. It gets worse when three people are looking for your form and they keep looking at you, before asking 'did you book over the phone or on the website?' The tuts and sighs behind you get louder and louder.
Once they find you, after you've heaved the biggest sigh of relief, you’ll be fitted with a strange brightly coloured wristband, which is made one size fitting all, requiring trimming to size. This is carried out by one of the receptionists brandishing a pair of garden shears, which leaves a sharp edge to the band that mysteriously cuts you all over during the weekender, in places you didn’t know you had (ahem!).
Your event program. This is essential reading, if for nothing else, because it contains the running order for the weekender, information that I assure you’ll forget as soon as you put it down. The accommodation, is a base, a stop off, somewhere to sleep, clean and change……. fortunately. It’s great if you want to sleep on a bowl-shaped mattress with less boing that Zebedee minus his spring, in a room with curtains as thin as gossamer, a shower with alternating temperatures from Antarctic to Vesuvius with one slight turn of the temperature knob, and share your space with various bacterial and insectivorous specie. We threw a slug out of our chalet once, that even scared the fearsome Gulls outside.
Once they find you, after you've heaved the biggest sigh of relief, you’ll be fitted with a strange brightly coloured wristband, which is made one size fitting all, requiring trimming to size. This is carried out by one of the receptionists brandishing a pair of garden shears, which leaves a sharp edge to the band that mysteriously cuts you all over during the weekender, in places you didn’t know you had (ahem!).
Your event program. This is essential reading, if for nothing else, because it contains the running order for the weekender, information that I assure you’ll forget as soon as you put it down. The accommodation, is a base, a stop off, somewhere to sleep, clean and change……. fortunately. It’s great if you want to sleep on a bowl-shaped mattress with less boing that Zebedee minus his spring, in a room with curtains as thin as gossamer, a shower with alternating temperatures from Antarctic to Vesuvius with one slight turn of the temperature knob, and share your space with various bacterial and insectivorous specie. We threw a slug out of our chalet once, that even scared the fearsome Gulls outside.
Food. As youngsters, I think many lived on caffeine, alcohol, nicotine and air, and the occasional flat, wheel shaped, botulism-in-a-bun from a catering van. Self-catering beyond toast, and tipping a pile of rich tea out on a plate didn’t really figure. Now, some weekenders are full board, half board or see to yourself. Self-catering for many is limited to ‘ping-surprise’ out of the microwave. They offer on-site cafes, the fayre from which can range from substantial and nourishing, to odd-looking and monochrome. I’m certain a mate of ours once had a plate of meat balls, that a dung beetle tried to roll away on. One we stayed at had an apple pie you could have filled pot holes in the road with, covered in the most fluorescent yellow, gelatinous material, visible from space, masquerading as custard. I think our poor stomachs were still digesting it a week later.
No readers, bacon, remember, because bacon is the very life blood of a weekender, and the sizzle of it makes you awfully popular. Conversely, leaving it under the grill and filling the chalet block with black smoke, setting the fire alarms off, with reduce your popularity.
Afternoon turns or ‘downstairs’. Due to several of the larger weekenders being on holiday camps on two levels, it’s hard for many of us not to refer to the acts on in the afternoon as ‘downstairs’. Really this means the smaller of the two venues. This is where you’ll encounter some of the bands making their debut at a weekender in an enthusiastically charged, up close and personal atmosphere. It’s more intimate in the smaller hall so be prepared to be amazed, bumped, mistaken for someone else, have your view eclipsed by tall people, thrilled, disorientated by sound, goosed, surprised, deafened, startled and wowed.
No readers, bacon, remember, because bacon is the very life blood of a weekender, and the sizzle of it makes you awfully popular. Conversely, leaving it under the grill and filling the chalet block with black smoke, setting the fire alarms off, with reduce your popularity.
Afternoon turns or ‘downstairs’. Due to several of the larger weekenders being on holiday camps on two levels, it’s hard for many of us not to refer to the acts on in the afternoon as ‘downstairs’. Really this means the smaller of the two venues. This is where you’ll encounter some of the bands making their debut at a weekender in an enthusiastically charged, up close and personal atmosphere. It’s more intimate in the smaller hall so be prepared to be amazed, bumped, mistaken for someone else, have your view eclipsed by tall people, thrilled, disorientated by sound, goosed, surprised, deafened, startled and wowed.
Main hall. The venue for the main thrust of the event with the blue-chip turns, and normally takes place in the evenings until the early hours of the following morning. It can be dark, hot and sticky, and that’s just the floor! If you’ve never danced before, you will here, even if you can only manage the cattle-prod style. The sounds and the atmosphere will blow you away, the colours and visual aspect will dilate your pupils. The DJs will play tracks that you’ve never heard before, the bands play at the top of their game. Then it’s back downstairs till the wee small hours so be prepared to be amazed, bumped, mistaken for someone else, have your view eclipsed by tall people, thrilled, disorientated by sound, goosed, surprised, deafened, startled and wowed
The world outside will cease to exist for three (or four) days, you’ll crash-out probably an hour before you normally get up, eat piles of junk at silly o’clock in the morning, pickle your liver, dance yourself daft, your vision will be like looking through cling film and feel like you’d died and no one had told you on the Monday morning, when you leave.
Reality. That’s what you left behind on Thursday and you’ve been hit by the sudden realisation that you have to rejoin on the Monday. You’ll have to stop off at a supermarket to get some essentials on the way home and by force of habit, show your wristband to the security guy on the door. Everyone you encounter in reality, suddenly looks rather sad, compared to the frivolity of the weekend just passed.
Well, what are you waiting for??? Get your cases packed and get on down! See you there!
The world outside will cease to exist for three (or four) days, you’ll crash-out probably an hour before you normally get up, eat piles of junk at silly o’clock in the morning, pickle your liver, dance yourself daft, your vision will be like looking through cling film and feel like you’d died and no one had told you on the Monday morning, when you leave.
Reality. That’s what you left behind on Thursday and you’ve been hit by the sudden realisation that you have to rejoin on the Monday. You’ll have to stop off at a supermarket to get some essentials on the way home and by force of habit, show your wristband to the security guy on the door. Everyone you encounter in reality, suddenly looks rather sad, compared to the frivolity of the weekend just passed.
Well, what are you waiting for??? Get your cases packed and get on down! See you there!
Dot….dot. Best tracks in the world ever ever to brulee your crème for this issue are Tommy Bell’s ‘Midnight Dreams’, Clyde McPhatter’s ‘Think Me a Kiss’ and the Timetones ‘Here in my Heart’………Watching the NFL highlights show (go Miami Dolphins!!) recently, as we do, the closing credits had a tune that made me sit up, rewind and Soundhound it. It was the surf sound of Eric Starczan, and ‘Moonlight on the Beach’ from 2018. Cool stuff……. I stood in the post office queue the other day and for the first time in ages, left my phone ringtone on. Sure enough one of those spam marketing calls, but introduced the teller behind the counter to ‘Rampage’ by the Planet Rockers. She was quite taken with the tune!.........As this is the last issue of 2021, we would like to wish all our loyal readers, and there's a lot of you, a very Merry Christmas and let's hope for a better and more musical 2022.......
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A collective 'Yay' from the Bettajive Review office when this was announced. We hear that places are being booked a pretty rapid rate, so don't miss out. Click on the flyer for details. Here's what the man himself has to say about the event
ONLINE BOOKING NOW OPEN for RAVE 24!
During the last two years one thing has become very obvious. Music matters.
I’ve lost count of the people that I’ve emailed or spoken to on our scene who all say the same thing. They miss our music terribly. Of course we can all get by, do these lock downs, social distance and all the rest but there comes a point, especially for a crowd that loves and has a passion for music, when living like that doesn’t actually feel much like living our lives anymore.
It’s heartening to see events all over the world slowly start to open back up again. By June 2022 we feel confident that we can run a large event like The Rockabilly Rave. People can now choose to return and to start to build their confidence of being with others and laughing and talking and dancing and drinking… all things which we just used to take for granted.
If you had booked and paid for the 24th Rave your booking has been automatically rolled over. For those who had refunds or were waiting to see what happened, now is the time to book up, as we are quite busy already. If you’re undecided about travel for instance, you can still book, safe in the knowledge that The Rockabilly Rave will refund your money or roll your booking over, like we have always done before, if you have to cancel.
Personally I’ll be using this time to see if I still fit in any of my good clothes… it seems that loafing about and eating and drinking too much hasn’t left Chatabox exactly beach-body-ready… and I’m sure I’m not completely alone in that…!
I look forward to welcoming you all back in June! Rave on cats!
Jerry Chatabox
ONLINE BOOKING NOW OPEN for RAVE 24!
During the last two years one thing has become very obvious. Music matters.
I’ve lost count of the people that I’ve emailed or spoken to on our scene who all say the same thing. They miss our music terribly. Of course we can all get by, do these lock downs, social distance and all the rest but there comes a point, especially for a crowd that loves and has a passion for music, when living like that doesn’t actually feel much like living our lives anymore.
It’s heartening to see events all over the world slowly start to open back up again. By June 2022 we feel confident that we can run a large event like The Rockabilly Rave. People can now choose to return and to start to build their confidence of being with others and laughing and talking and dancing and drinking… all things which we just used to take for granted.
If you had booked and paid for the 24th Rave your booking has been automatically rolled over. For those who had refunds or were waiting to see what happened, now is the time to book up, as we are quite busy already. If you’re undecided about travel for instance, you can still book, safe in the knowledge that The Rockabilly Rave will refund your money or roll your booking over, like we have always done before, if you have to cancel.
Personally I’ll be using this time to see if I still fit in any of my good clothes… it seems that loafing about and eating and drinking too much hasn’t left Chatabox exactly beach-body-ready… and I’m sure I’m not completely alone in that…!
I look forward to welcoming you all back in June! Rave on cats!
Jerry Chatabox
Hemsby 63
Hot on the heels of the Rockabilly Blowout, was the long delayed Hemsby #63 event with a much-adjusted line up to the original advertised event, from the autumn of 2019. This was an all-British band and DJ line-up, that Bill Guntrip had brought together, covering a wide variation of styles, under the Rock ‘n’ Roll umbrella. Three days of pure Rock n Roll, began with a throwback to the ‘old days’ with a queue to get in and get your keys, during the gathering gloom of a Friday afternoon in November.
Again, there was a palpable eagerness and readiness for a weekend of unadulterated music, socialising and dance.
Again, there was a palpable eagerness and readiness for a weekend of unadulterated music, socialising and dance.
Friday evening was another one of those occasions when we got to see people we hadn’t since late 2019, or at the beginning of 2020. Everywhere, friendships forged over the internet and zoom, were rekindled face-to-face, and old mates met up.
Not that the music was going to be incidental, especially when you start the proceedings with a band the quality of 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. They opened up with a striding rockabilly railroad number, from ’61, Clyde Arnold’s ‘Black Smoke and Blue Tears’. This is perfectly suited to Les’ vocal delivery, pulsing rhythm guitar and fervent on-stage presence.
From ’66, yes there was Rockabilly after 1956, came their rendition of ‘Guitar Woman’ featuring some fine Dave Flynn geetar-picking. Both songs on the band’s recent 45rpm appeared in the set, ‘Up and Go’ and ‘The Man From Laramie’, along with covers of Benny Cliff’s lyrical oddity ‘Shake ‘em Up Rock’, Vic Gallon’s bop beat ‘I’m Gone’, The Tennessee Drifters’ ‘Chinese Maid’ and Bob Luman’s ‘Guitar Picker’. Again, a song like Floyd Fletcher’s ‘Move On Down The Track’, has just the drive and beat, that’s perfect for the L.P. treatment, and this rendition was ace. Another cracking set of raw Rockabilly from this four-piece, and a tip top start to the weekend.
Not that the music was going to be incidental, especially when you start the proceedings with a band the quality of 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. They opened up with a striding rockabilly railroad number, from ’61, Clyde Arnold’s ‘Black Smoke and Blue Tears’. This is perfectly suited to Les’ vocal delivery, pulsing rhythm guitar and fervent on-stage presence.
From ’66, yes there was Rockabilly after 1956, came their rendition of ‘Guitar Woman’ featuring some fine Dave Flynn geetar-picking. Both songs on the band’s recent 45rpm appeared in the set, ‘Up and Go’ and ‘The Man From Laramie’, along with covers of Benny Cliff’s lyrical oddity ‘Shake ‘em Up Rock’, Vic Gallon’s bop beat ‘I’m Gone’, The Tennessee Drifters’ ‘Chinese Maid’ and Bob Luman’s ‘Guitar Picker’. Again, a song like Floyd Fletcher’s ‘Move On Down The Track’, has just the drive and beat, that’s perfect for the L.P. treatment, and this rendition was ace. Another cracking set of raw Rockabilly from this four-piece, and a tip top start to the weekend.
Next cab off the rank, Darrel Higham and the Enforcers, with Darrel on lead guitar and vocals, Adam Miles on bass and drummer Rob Tyler. This was a powerful, Gretsch guitar driven, kicker of a set, engaging the crowd right from the start with ‘Hey Ruby’, and the gritty ‘Ya Hound You Lie’. ‘I Knew’ and ‘Dark Haired Woman’ kept up the rocking tempo, with the crowd rhythmically bouncing the floor appreciatively.
As with every Darrel Higham performance, you get a hefty chunk of Eddie Cochran, the first of which was the ’55 Cochran Brothers ‘Rockin’ and Flyin’, electrifying a classic country bop sound. Then there were the later sounds of ‘Completely Sweet’ and ‘Somethin’ Else’ with the commanding instrumental from ’58, ‘Scratchin’ channelling their best Eddie, Guybo and Earl. A bit of Cliff and Ricky Nelson perhaps? Well, why not, with ‘High Class Baby’ and ‘Shirley Lee’ respectively. The driving beat of ‘Ghost of Love’, made a welcome appearance, ironically, is described as an ‘old song’. The set was all rounded off with the Boss’ ‘I’m On Fire’ and a cover of Restless’ ‘Ice Cold’. A hugely popular set.
As with every Darrel Higham performance, you get a hefty chunk of Eddie Cochran, the first of which was the ’55 Cochran Brothers ‘Rockin’ and Flyin’, electrifying a classic country bop sound. Then there were the later sounds of ‘Completely Sweet’ and ‘Somethin’ Else’ with the commanding instrumental from ’58, ‘Scratchin’ channelling their best Eddie, Guybo and Earl. A bit of Cliff and Ricky Nelson perhaps? Well, why not, with ‘High Class Baby’ and ‘Shirley Lee’ respectively. The driving beat of ‘Ghost of Love’, made a welcome appearance, ironically, is described as an ‘old song’. The set was all rounded off with the Boss’ ‘I’m On Fire’ and a cover of Restless’ ‘Ice Cold’. A hugely popular set.
Final act for Friday, was just outstanding. The Jets. What do you want? More? We could have left it there, as many people reading this will know that it’s a gimmie a Jets set would storm an evening. Looking sharp in black and white outfits, the Cotton Brothers launched into a peach of a set, powering up with Buddy’s ‘Rock Around With Ollie Vee’ and ‘Sittin’ on Top of the World’ in the Curtis Gordon style (although I look forward to hearing them do the original Mississippi Sheiks 1930 version!). Two Rockabilly classics, followed by their own floor filling stroller, ‘Heartbreaker’ which is from the ’88 album ‘Cotton Pickin’, frighteningly over thirty years old now readers.
The Covid-19 lockdowns were awful for everyone, however it led to creativity in different ways, and one such example was the Jets ‘Isolations Sessions’, the second of which featured Darrel Higham, who joined the lads on stage to recreate that sound. They chose two out and out classic tunes, Hal Harris ‘Jitterbop Baby’ and Alvis Wayne’s ‘Sleep Rock a Roll Rock a Baby’. Back to ’88 again and Ray taking vocals on the authoritative sounding ‘Razor Alley’.
Mixing up the flavours in the set, they hit the high spots with ‘Blue Moon’ and ‘Millionaire Hobo’, and slid in Sam the Sham’s ’65 cut ‘Wooly Bully’, sneaking in bits of ‘Lip up Fatty’ into it ( 😊 cor blimey, bloody skinhead song, that ain’t rockin 😊) as well. ‘Thunder Road’ all but took the roof off, as did the three encores. Naturally we got the hits, ‘Yes Tonight Josephine’ and ‘Love Makes the World Go Round’ which us of a certain vintage will recall on Top of the Pops……… The Jets are like fine wine (or Fine Fine Fine, eh, eh, see what I did there) that gets better as years pass. The set was top quality from start to finish
The Covid-19 lockdowns were awful for everyone, however it led to creativity in different ways, and one such example was the Jets ‘Isolations Sessions’, the second of which featured Darrel Higham, who joined the lads on stage to recreate that sound. They chose two out and out classic tunes, Hal Harris ‘Jitterbop Baby’ and Alvis Wayne’s ‘Sleep Rock a Roll Rock a Baby’. Back to ’88 again and Ray taking vocals on the authoritative sounding ‘Razor Alley’.
Mixing up the flavours in the set, they hit the high spots with ‘Blue Moon’ and ‘Millionaire Hobo’, and slid in Sam the Sham’s ’65 cut ‘Wooly Bully’, sneaking in bits of ‘Lip up Fatty’ into it ( 😊 cor blimey, bloody skinhead song, that ain’t rockin 😊) as well. ‘Thunder Road’ all but took the roof off, as did the three encores. Naturally we got the hits, ‘Yes Tonight Josephine’ and ‘Love Makes the World Go Round’ which us of a certain vintage will recall on Top of the Pops……… The Jets are like fine wine (or Fine Fine Fine, eh, eh, see what I did there) that gets better as years pass. The set was top quality from start to finish
Hey Mr DJ. The DJs often make a weekender as much as the bands, spinning the finest tunes to keep the dancefloor filled. As well as the Guntrip clan, Bill Jimmy and George, we had the welcome returns to Hemsby of Tony Thorpe and Mouse.
Add into that mix, top spinners Tojo and Dave Mumbles (pictured left), and you get some pretty darn good sets
Hemsby dot….dot. Best tracks at Hemsby ever ever for this event were Luke McDaniel’s ‘My Baby Don’t Rock’, ‘Big Berry’ by Lenny and the Thundertones and Smiley Lewis’ ‘Shame, Shame, Shame’…….Any rumour that people who attended the Blowout merely turned their underpants inside-out to wear for Hemsby, is wholly untrue, well us anyway!......Variety at Hemsby? Take Saturday for example, we had Garage, Country Bop, Western Swing, Rockabilly, Mexican styled Rockabilly, Rock ‘n’ Roll and Neo-Rockabilly…….Radiohead’s ’Creep’, how many classic Rockabilly slap bass tutorials does that appear in……
Add into that mix, top spinners Tojo and Dave Mumbles (pictured left), and you get some pretty darn good sets
Hemsby dot….dot. Best tracks at Hemsby ever ever for this event were Luke McDaniel’s ‘My Baby Don’t Rock’, ‘Big Berry’ by Lenny and the Thundertones and Smiley Lewis’ ‘Shame, Shame, Shame’…….Any rumour that people who attended the Blowout merely turned their underpants inside-out to wear for Hemsby, is wholly untrue, well us anyway!......Variety at Hemsby? Take Saturday for example, we had Garage, Country Bop, Western Swing, Rockabilly, Mexican styled Rockabilly, Rock ‘n’ Roll and Neo-Rockabilly…….Radiohead’s ’Creep’, how many classic Rockabilly slap bass tutorials does that appear in……
Saturday’s entertainment began with a mmm hmm, a bang, and a cranked-up guitar as the McCurdy Brothers, took on the Delta Bombers’ ‘The Wolf’. A ballsy and raw take on this song, especially as there are only two in the band. Adam Kirlew on drums, channelling the Seasick Steve look to great effect, and Jerry Lee Kirlew on guitar, that’s it, although the sound is such that you’d easily think there was a four piece on stage.
The musical style is quite heavy, and raw sounding, demonstrated ably as they mercilessly tore through their set, with the likes of ‘Slow Down’, the traditional folk song electrified commercially by the Animals ‘House of the Rising Sun’, and ‘On The Road Again’. All performed with an on-stage fervour and zeal, that permeated to the assembled at the front of the stage. The crescendo of the set consisted of a trio of well-known tunes, a cover of Hot Boogie Chillun’s ‘Chillun Walk’, the classic ‘Baby Please Don’t Go’ and Led Zeppelin’s ‘Rock ‘n’ Roll. The McCurdy’s take no prisoners with their no-nonsense style, and this was a fine introduction to it.
The musical style is quite heavy, and raw sounding, demonstrated ably as they mercilessly tore through their set, with the likes of ‘Slow Down’, the traditional folk song electrified commercially by the Animals ‘House of the Rising Sun’, and ‘On The Road Again’. All performed with an on-stage fervour and zeal, that permeated to the assembled at the front of the stage. The crescendo of the set consisted of a trio of well-known tunes, a cover of Hot Boogie Chillun’s ‘Chillun Walk’, the classic ‘Baby Please Don’t Go’ and Led Zeppelin’s ‘Rock ‘n’ Roll. The McCurdy’s take no prisoners with their no-nonsense style, and this was a fine introduction to it.
A complete contrast in style next, with the Sundown Boys, Dan Morley on vocals and rhythm guitar, Scott Brown on lead guitar and bassist Danny Brown. This trio play some seriously authentic sounding early Rockabilly, exceptionally well. Sometimes the sound without drums can be a little thin, but not with this outfit. Taking one example as a stand-alone, Phil Gray’s ‘Pepper Hot Baby’. The classic Rockabilly hiccup delivery of the vocals, the spot-on lead guitar work and the restrained but wonderfully effective bass accompaniment.
Similarly, Jimmy and Johnny’s ’57 cut on Decca, ‘I’ll Do It Every Time’, a harmony vocal track that the lads took on. Their performance was so close to the original, it would’ve fooled Soundhound. The rest of the set provided a master class of tunes from the genre, with Jimmy Stewart’ s ‘Nuthin’ but a Nuthin’, Ben Hall’s ‘Moo Mama’ and Bill Bowen’s ‘Don’t Shoot Me Baby’ featuring early doors. Loved Larry Hart’s ‘I’m Just a Mender’, and the intensity of Lloyd McCollough’s ‘Gonna Love My Baby’ and Mac Curtis’ ‘Half Hearted Love’. Just excellent from the first note to the last.
Similarly, Jimmy and Johnny’s ’57 cut on Decca, ‘I’ll Do It Every Time’, a harmony vocal track that the lads took on. Their performance was so close to the original, it would’ve fooled Soundhound. The rest of the set provided a master class of tunes from the genre, with Jimmy Stewart’ s ‘Nuthin’ but a Nuthin’, Ben Hall’s ‘Moo Mama’ and Bill Bowen’s ‘Don’t Shoot Me Baby’ featuring early doors. Loved Larry Hart’s ‘I’m Just a Mender’, and the intensity of Lloyd McCollough’s ‘Gonna Love My Baby’ and Mac Curtis’ ‘Half Hearted Love’. Just excellent from the first note to the last.
Another trio followed hot on their heels, this time it was the Tennessee Hotshots from Scotland. Sy McBain takes the majority of the vocals as well as slapping the bass, with ace picker Martin Barrett on lead and Paddy Dolan on cans and skins. They fired out their own track ‘Breakin’ My Heart’ to set the pace (scary to realise that record is nearly ten years old). Jerry Reed’s ‘Mister Whizz’ was just exquisite as was their take on ‘Wildcat Tamer’ was as good a rendition you’re likely to hear this side of Tarheel Slim.
The top twin spin from 2016, ‘Rock ‘n’ Roll Rampage’ and ‘Ain’t Misbehavin’ made very welcome appearances, they are the kind of tracks that, as a listener/watcher, you hope the band would do as soon as you see they are playing. A switch in gears, near the end of the show, and the Del-Vikings ‘Flat Tire’. Such a good doo wop performance, of the ’58 classic by an archetypal looking Rockabilly trio. Picking it up again to end the set, pre-encore, was another Sy composition, ‘I Don’t Think So’. This is a classic sounding blues bopper, with just the right amount of bass ‘tick’ complementing the searing guitar riffs. I don’t think anyone would’ve minded if the ‘Shots had played on for another hour. Great stuff.
The top twin spin from 2016, ‘Rock ‘n’ Roll Rampage’ and ‘Ain’t Misbehavin’ made very welcome appearances, they are the kind of tracks that, as a listener/watcher, you hope the band would do as soon as you see they are playing. A switch in gears, near the end of the show, and the Del-Vikings ‘Flat Tire’. Such a good doo wop performance, of the ’58 classic by an archetypal looking Rockabilly trio. Picking it up again to end the set, pre-encore, was another Sy composition, ‘I Don’t Think So’. This is a classic sounding blues bopper, with just the right amount of bass ‘tick’ complementing the searing guitar riffs. I don’t think anyone would’ve minded if the ‘Shots had played on for another hour. Great stuff.
The evening session began with Carlos and a rather different looking Bandidos. Carlos Mejuto on vocals, occasionally rhythm guitar, maracas and pistolas, and drummer Roger van Niekerk were the only original Bandidos. Phil Polecat on bass, John Lewis on rhythm guitar and the vastly over-talented Paul Gaskin on lead guitar, made up the rest of the band. The sound has been referred to as Mexabilly or Mexicali-billy, or to simplify it further, Rockabilly with a Mexican twist. Got it? Good.
The guys looked suitably spectacular in their black and white outfits and sombreros as the guns were fired during ‘Reputation’ and the haunting ‘Beautiful Suicide’. There were covers as well, like Dave Day’s ‘Blue Moon Baby’, a perfect tune for the Bandidos sound and ‘Broken Heart’. ‘God’s Gonna Cut You Down’ gave the set a sinister twist, while there are few vocalists that cover Little Willie John’s ‘Fever’ as well as Carlos.
‘Fever’ for us was the highlight of the set, (in the absence of ‘Tall Tall Trees’), both musically and vocally, with the key changes adding to its overall intensity. It all concluded with a call-and-answer encore with the audience shouting back to ‘Train Kept a’Rollin’. Cool beans.
The guys looked suitably spectacular in their black and white outfits and sombreros as the guns were fired during ‘Reputation’ and the haunting ‘Beautiful Suicide’. There were covers as well, like Dave Day’s ‘Blue Moon Baby’, a perfect tune for the Bandidos sound and ‘Broken Heart’. ‘God’s Gonna Cut You Down’ gave the set a sinister twist, while there are few vocalists that cover Little Willie John’s ‘Fever’ as well as Carlos.
‘Fever’ for us was the highlight of the set, (in the absence of ‘Tall Tall Trees’), both musically and vocally, with the key changes adding to its overall intensity. It all concluded with a call-and-answer encore with the audience shouting back to ‘Train Kept a’Rollin’. Cool beans.
We can’t recall the last time we saw Furious, the fiery favourites with the Teds from Liverpool. Here was Mark Halligan on bass and vocals, Andy Halligan on lead guitar and (I’m guessing) depping on drums, Honkabilly, Frankie Riedel Jr.
It’s high-octane rock ‘n’ roll from start to finish, with ‘Hang Your Head’ from their 2010 album ‘Wreck the Hoose Juice’ blasting out over the finger pointing and animated crowd stage front.
‘Hello Josephine’ dropped the relentless pace, before the impassioned ‘My Bonnie’ had the crowd in raptures again. Love the sentiment in ‘Me Ald Man Robbed Me Bike’, ‘No Ifs, No Buts, No Maybes’ takes no prisoners and ‘Evil Little Eye’ is a blast. Whipping the crowd at the front yet further was the anthemic ‘We Are the Teds’. That was a rollocking good romp for sure.
It’s high-octane rock ‘n’ roll from start to finish, with ‘Hang Your Head’ from their 2010 album ‘Wreck the Hoose Juice’ blasting out over the finger pointing and animated crowd stage front.
‘Hello Josephine’ dropped the relentless pace, before the impassioned ‘My Bonnie’ had the crowd in raptures again. Love the sentiment in ‘Me Ald Man Robbed Me Bike’, ‘No Ifs, No Buts, No Maybes’ takes no prisoners and ‘Evil Little Eye’ is a blast. Whipping the crowd at the front yet further was the anthemic ‘We Are the Teds’. That was a rollocking good romp for sure.
More years ago than pretty much everyone concerned would like to recall, there were three kids from Suffolk playing downstairs at Colchester’s Embassy Suite, at a gig where the main event was the Rockin’ Shades. They were called Restless, and what do you know, here’s Mark Harman some five decades later on stage (and me watching!), with bassist Jeff Bayly, Mick Malone on second guitar, and drummer Ben Cooper. Restless were among the pioneers of that Neo-Rockabilly sound of the 80’s. Always innovative with their own songs and adding twists to covers, they avoided that ‘punk-with-a-bass’ sound some bands of the time used.
Taking Mike Page’s ‘Long Black Shiny Car’ from 1960. This was an almost folk rock track with a soft and atmospheric delivery. Restless took it and shook new life into it, and made it a must-hear in their set. ‘Baby Please Don’t Go’, again, an adaptation of a slave song originally, probably best-known versions of which tend to be John Lee Hooker or the band, Them in the 60’s. It lent itself perfectly to the Restless style, as does the re-working of ‘Sixteen Tons’.
It’s probably ‘Ice Cold’ that is the track most people think of when they hear the band’s name. Clearly a modern-day classic, although heading toward thirty-five years old now, it would’ve probably kicked of big stylie if it wasn’t included in the set. There was some serious bounce when those familiar notes sounded out. Many other faves made an appearance, ‘Ghost Town’, ‘Yellow Cab to Midnight’, ‘Why Don’t You Just Rock’ et al. A rowdily appreciated set of incredible guitar work and super cool backing was rounded off with ‘Rock ‘n’ Roll Train’. Classic stuff, perfect for Saturday nights!
Taking Mike Page’s ‘Long Black Shiny Car’ from 1960. This was an almost folk rock track with a soft and atmospheric delivery. Restless took it and shook new life into it, and made it a must-hear in their set. ‘Baby Please Don’t Go’, again, an adaptation of a slave song originally, probably best-known versions of which tend to be John Lee Hooker or the band, Them in the 60’s. It lent itself perfectly to the Restless style, as does the re-working of ‘Sixteen Tons’.
It’s probably ‘Ice Cold’ that is the track most people think of when they hear the band’s name. Clearly a modern-day classic, although heading toward thirty-five years old now, it would’ve probably kicked of big stylie if it wasn’t included in the set. There was some serious bounce when those familiar notes sounded out. Many other faves made an appearance, ‘Ghost Town’, ‘Yellow Cab to Midnight’, ‘Why Don’t You Just Rock’ et al. A rowdily appreciated set of incredible guitar work and super cool backing was rounded off with ‘Rock ‘n’ Roll Train’. Classic stuff, perfect for Saturday nights!
Sunday morning saw the flea market take place in the ballroom, however as it was Remembrance Sunday, the market stopped for a service at 11am. To a person, everyone stood in respectful silence, for two minutes, after which, the Laurence Binyon ‘For the Fallen’ poem was recited from the stage, and the ‘Last Post’ played from the decks.
Sunday afternoon, should have kicked off with Dollar Bill, but with him being a no-show, head honcho Bill Guntrip rallied the troops for an impromptu jam session. Jack and the Real Deals hastily put everything together and different musicians and vocalists swapped about during the following hour. You know what readers, I’m not going to review that, other than to say, we have some seriously talented peeps on in our music. Everyone slotted in so easily and rocked out to some cracking tracks. The pics below are of just a few of the jammers
Lady Luck Lexy and the Riverside Boys are a trio out of God’s own county of Essex. Alexys Becerra fronts the band, playing a stand-up drum kit and performing vocals, with Nick Bayford on guitar and Chris Tymon on double bass.
A quick instrumental, announced their arrival, before the vocal material commenced with ‘Good Times’. That track is from 1969, recorded by Harry Nilsson and the New Salvation Singers, but don’t be fooled into thinking it’s anything like ‘Without You’ for example. This is a hopped-up sound with a thumping blues bop beat.
The alluring title of ‘I Wanna Man (in a Rockabilly Band)’ heralds a thumping bass driven slab of Rockabilly. There were covers as well, the likes of Ruth Brown’s ‘As Long as I’m Movin’, a brace of Patsy Cline beauties ‘Stop, Look and Listen’ and ‘Walking After Midnight’, and a kicking version of ‘Riot in Cell Block #9’. The variety of material throughout was inspiring, well-chosen covers and their own material.
'I’m On Fire’ for this reviewer was the pick of a prime bunch, just the right amount of reverb, well-crafted lyrics, and a somewhat haunting sound, which is hugely effective. I think we all know where the last song ‘Isolation Blues’ influences came from, it’s lyrics resonated with many in the hall. A superbly fiery, rockin’ and rhythmic set.
A quick instrumental, announced their arrival, before the vocal material commenced with ‘Good Times’. That track is from 1969, recorded by Harry Nilsson and the New Salvation Singers, but don’t be fooled into thinking it’s anything like ‘Without You’ for example. This is a hopped-up sound with a thumping blues bop beat.
The alluring title of ‘I Wanna Man (in a Rockabilly Band)’ heralds a thumping bass driven slab of Rockabilly. There were covers as well, the likes of Ruth Brown’s ‘As Long as I’m Movin’, a brace of Patsy Cline beauties ‘Stop, Look and Listen’ and ‘Walking After Midnight’, and a kicking version of ‘Riot in Cell Block #9’. The variety of material throughout was inspiring, well-chosen covers and their own material.
'I’m On Fire’ for this reviewer was the pick of a prime bunch, just the right amount of reverb, well-crafted lyrics, and a somewhat haunting sound, which is hugely effective. I think we all know where the last song ‘Isolation Blues’ influences came from, it’s lyrics resonated with many in the hall. A superbly fiery, rockin’ and rhythmic set.
The evening session began with Jack and the Real Deals, who were able to set up just slightly more leisurely than at the jam session. I believe it was almost two years to the day since they last played at a festival, and at the time guitarist, Sid, suggested he was taking a couple of years off. Didn’t know we all had to as well 😊! The line-up has remained consistent with Jon Jack Boxwell on rhythm guitar and vocals, with Simon ‘Sid’ Farley on lead guitar, drummer Andy Turner and bassist Dave Kopke.
These guys pretty much play everyone’s favourite Rockabilly playlist, or the sounds that got us into the music. Jack’s voice is well suited to the style and Sid’s picking and riffs are the perfect accompaniment, opening up as they do, with Eddie Cash’s ’58 cut ‘Doin’ Alright’. Song after song vie for attention, Jimmy and Johnny’s ‘Love Me’ was expertly delivered by Jack and Sid, The Collins Kids’ ‘Whistle Bait’, the Sun Records sound of ‘You Made a Hit’, ‘Sweet Sweet Girl’ and a particular favourite (with the band and us) ‘Chains of Love’.
They have a number of quality original tunes as well, ‘Jokers Wild’, ‘Moth To a Flame’ and the title track to their CD, ‘Chain Gang Blues’, all of which have that authentic Rockabilly sound, like they’d come straight from the fifties.
These guys pretty much play everyone’s favourite Rockabilly playlist, or the sounds that got us into the music. Jack’s voice is well suited to the style and Sid’s picking and riffs are the perfect accompaniment, opening up as they do, with Eddie Cash’s ’58 cut ‘Doin’ Alright’. Song after song vie for attention, Jimmy and Johnny’s ‘Love Me’ was expertly delivered by Jack and Sid, The Collins Kids’ ‘Whistle Bait’, the Sun Records sound of ‘You Made a Hit’, ‘Sweet Sweet Girl’ and a particular favourite (with the band and us) ‘Chains of Love’.
They have a number of quality original tunes as well, ‘Jokers Wild’, ‘Moth To a Flame’ and the title track to their CD, ‘Chain Gang Blues’, all of which have that authentic Rockabilly sound, like they’d come straight from the fifties.
The penultimate act of the weekend, the venerable John Lewis and his Trio. John had been performing solo on Facebook live most Sundays through lockdown(s), and now here he is in one of his incarnations (different to the Johnny Bach set at the Blowout) back at Hemsby. John takes lead guitar and vocals, with Stuart McIlroy on keyboard, Nick Whitfield on bass and Billy Roberts drumming. I doubt there’s been many of the 50’s music styles that John can’t perform and this set was a prime example, which started in particularly frantic fashion with his tribute to Mac Curtis, and ‘Flat Top Cat’.
There’s always a nod to Hank Williams in a John Lewis show, and this one was no exception. ‘You Win Again’ was covered with precision, while ‘Please Don’t Let Me Love You’ has a completely different dancefloor feel to it. ‘Ramblin’ Man’ was a song that was on Sunday repeat during lockdowns, and here it was live. The Jiants’ ‘Tornado’ was one of the first songs John sang with the Rimshots, and the classic bopper was recounted here too. ‘Hard Travelling’ rocked out and ‘Rollin’ is a finger pickin’ delight.
The set ended much as it started, with a slightly manic sound ‘Definitely Ain’t Got The Money’ with the encore of the brilliant Chuck Berry song ‘Let It Rock’. Vintage John Lewis, with super-tight backing from the trio.
There’s always a nod to Hank Williams in a John Lewis show, and this one was no exception. ‘You Win Again’ was covered with precision, while ‘Please Don’t Let Me Love You’ has a completely different dancefloor feel to it. ‘Ramblin’ Man’ was a song that was on Sunday repeat during lockdowns, and here it was live. The Jiants’ ‘Tornado’ was one of the first songs John sang with the Rimshots, and the classic bopper was recounted here too. ‘Hard Travelling’ rocked out and ‘Rollin’ is a finger pickin’ delight.
The set ended much as it started, with a slightly manic sound ‘Definitely Ain’t Got The Money’ with the encore of the brilliant Chuck Berry song ‘Let It Rock’. Vintage John Lewis, with super-tight backing from the trio.
Can you believe we are at the final act on Sunday and the final act of the weekend, Paul Ansell’s Number Nine (No9 hereinafter). Paul, on rhythm guitar, was joined by Tony Diavolo on lead guitar, Guy Trigg on bass and drummer Ricky McCann. They started with ‘Ruby (Don’t Take Your Love To Town)’ a standard No9 opener, and the chugging beat of ‘Train of Love’ (it’s an unwritten rule, train songs are obligatory).
So many of the crowd’s favourites were there, like ‘I Will Cry Instead’ from ‘Movin’ On’ (twenty-one years old that album!), Iggy Pop’s ’77 ‘B’ side ‘The Passenger’ got the No9 treatment as did Don Gibson’s 1961 smash, ‘Sea of Heartbreak’. Slowing right down, a cover of Gordon Lightfoot’s ‘In The Early Morning Rain’, a rambling tune that’s been recorded and performed by everyone from Elvis to Eva Cassidy.
Speaking of Elvis (segues are us!) how about from GI Blues ‘A Pocketful of Rainbows’ and from Paul’s own particular favourite Elvis film ‘King Creole’ came ‘Crawfish’. The floor filling ‘It Ain’t Right’ was broadly welcomed, think that’s on the ‘must have’ list at a No9 show, and also in that category, ‘Red Light’ and ‘Hey Joe’. Hugely well received set to end the live acts.
So many of the crowd’s favourites were there, like ‘I Will Cry Instead’ from ‘Movin’ On’ (twenty-one years old that album!), Iggy Pop’s ’77 ‘B’ side ‘The Passenger’ got the No9 treatment as did Don Gibson’s 1961 smash, ‘Sea of Heartbreak’. Slowing right down, a cover of Gordon Lightfoot’s ‘In The Early Morning Rain’, a rambling tune that’s been recorded and performed by everyone from Elvis to Eva Cassidy.
Speaking of Elvis (segues are us!) how about from GI Blues ‘A Pocketful of Rainbows’ and from Paul’s own particular favourite Elvis film ‘King Creole’ came ‘Crawfish’. The floor filling ‘It Ain’t Right’ was broadly welcomed, think that’s on the ‘must have’ list at a No9 show, and also in that category, ‘Red Light’ and ‘Hey Joe’. Hugely well received set to end the live acts.
Yeah, it was great to be back at Hemsby and much credit must go to the Guntrip family for putting on a quality event in the face of all sorts of complications over the previous year and a half or so. See the flyers for next year's event.
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New Record releases LP/45/CD
Keepin’ the Reins Slack – Rockin’ Bonnie Western Bound Combo
Vinyl LP review
It’s been twelve years since Rockin’ Bonnie’s first full length long player. The 2009 album, ‘Cocktail Jubilee’ introduced many to her style of Western Swing and Hillbilly, and led to lots of live shows at festivals all over Europe and beyond as well as some EPs and singles. Now we have a new vinyl LP to enjoy, and my goodness it has been worth the wait.
Hailing from Italy, Rockin’ Bonnie (Sabrina Cocciolo) take the lead vocals, and rhythm guitar, and she’s joined by Massimo Zampini (Max hereinafter) on lead guitar and vocals bassist Roberto Marmieri, drummer Navajo Manuel Joe, Matteo Ringressi displaying exceptional versatility on fiddle, console steel guitar and electric mandolin with Massimo Gerosa guesting on piano. They take on a number of covers and also showcase some original material.
The opener is a cover of ‘Full Time Job’, a bright and breezy version of Eddy Arnold’s 1952 or Doris Day/Johnnie Ray 1953 song, you choose. This track puts you in the mood with Bonnie’s joyous vocal lilt to the fore, backed impressively by sumptuous steel guitar throughout and top-drawer guitar picking solo. I defy you not to be humming this for the rest of the day. ‘I Gotta Know’ was originally released on Starday Records by Jim Eanes and the Shenandoah Playboys in 1960. This take follows a similar pattern with alternate banjo and fiddle, and some nifty guitar picking too, making for a truly authentic sound.
Ernest Tubb’s ‘I’ll Get Along Somehow’ follows. The Texas Troubadour original is a kind of acoustic guitar lament, however Rockin’ Bonnie has taken it and added some zip to the cadence and bounce to the rhythm, whilst it’s apparent they pay due reverence to the original. Some hot fiddle sawing and guitar picking introduces the listener to the band’s take of Bob Wills and the Texas Playboys’ ‘Get With It’, which was a ‘B’ side from 1935. Max takes lead vocal on this one, and what a gem of a tune this is. Everyone gets in on the act, making for the fullest sound. It’s a true delight folks
The first of Max’s compositions is next, ‘Hell Ride Boogie’, another sliding steel, diamond of a track, with a slightly softer rhythm section, and shout-back chorus to Bonnie’s lead. ‘I’m Getting Wrong’ was written by bassist, Roberto Marmieri. This is a real toe tapper of a duet between Max and Sabrina, and sounds like it’s straight out of 1954. Finally, on the ‘A’ side, it’s ‘South’, made famous by among others Bob Wills in 1947 and Bob Scobey’s Frisco Band in ’51-52, and the lyrics were in part written by Ray Charles. This jazzy jewel is another showcase for each instrument as they all get a moment to shine, but don’t think for a moment that the vocals are just incidental.
The ‘B’ side opens with a Max original, ‘Loss’, and he takes the majority of the vocals, immediately put us in mind of George Jones. A cracking country romp, and you’ll love the deep sounding guitar solo, offset with the fiddle. Another duet with a cover of Justin Tubb & Goldie Hill’s 1954 ‘Sure Fire Kisses’, and Max and Sabrina are at the top of their vocal game on this one, with one the perfect accompaniment for the other. A Country styled slowy for you next, with the Max penned duet ‘Somebody’s Gonna Take Your Place’, couples heartache, and slightly maudlin fiddle accompanying the somewhat resentful lyrics.
‘Serenade in G’ is the second Roberto original. This is Western Swing in a pure form, and almost has a jam session feel about the rhythm, quieter and cool, with the vocals adding panache to the tune. ‘Let’s Settle Down’ is a nippy Merle Travis delight, and Max absolutely nails the guitar picking on this one. Topping everything off ‘This Side of Town’ adaptation of Leon McAuliffe w/ Billy Walker’s 1952 cut on Columbia. A smashing tune to conclude the LP track listing.
This El Toro Records release, is excellent, make no bones about it. The track listing is just the right balance of cover songs and new material. Their attention to detail and production is such that every track sounds like it was recorded during the heyday of the Western Swing genre. It is that authentic
First class
Vinyl LP review
It’s been twelve years since Rockin’ Bonnie’s first full length long player. The 2009 album, ‘Cocktail Jubilee’ introduced many to her style of Western Swing and Hillbilly, and led to lots of live shows at festivals all over Europe and beyond as well as some EPs and singles. Now we have a new vinyl LP to enjoy, and my goodness it has been worth the wait.
Hailing from Italy, Rockin’ Bonnie (Sabrina Cocciolo) take the lead vocals, and rhythm guitar, and she’s joined by Massimo Zampini (Max hereinafter) on lead guitar and vocals bassist Roberto Marmieri, drummer Navajo Manuel Joe, Matteo Ringressi displaying exceptional versatility on fiddle, console steel guitar and electric mandolin with Massimo Gerosa guesting on piano. They take on a number of covers and also showcase some original material.
The opener is a cover of ‘Full Time Job’, a bright and breezy version of Eddy Arnold’s 1952 or Doris Day/Johnnie Ray 1953 song, you choose. This track puts you in the mood with Bonnie’s joyous vocal lilt to the fore, backed impressively by sumptuous steel guitar throughout and top-drawer guitar picking solo. I defy you not to be humming this for the rest of the day. ‘I Gotta Know’ was originally released on Starday Records by Jim Eanes and the Shenandoah Playboys in 1960. This take follows a similar pattern with alternate banjo and fiddle, and some nifty guitar picking too, making for a truly authentic sound.
Ernest Tubb’s ‘I’ll Get Along Somehow’ follows. The Texas Troubadour original is a kind of acoustic guitar lament, however Rockin’ Bonnie has taken it and added some zip to the cadence and bounce to the rhythm, whilst it’s apparent they pay due reverence to the original. Some hot fiddle sawing and guitar picking introduces the listener to the band’s take of Bob Wills and the Texas Playboys’ ‘Get With It’, which was a ‘B’ side from 1935. Max takes lead vocal on this one, and what a gem of a tune this is. Everyone gets in on the act, making for the fullest sound. It’s a true delight folks
The first of Max’s compositions is next, ‘Hell Ride Boogie’, another sliding steel, diamond of a track, with a slightly softer rhythm section, and shout-back chorus to Bonnie’s lead. ‘I’m Getting Wrong’ was written by bassist, Roberto Marmieri. This is a real toe tapper of a duet between Max and Sabrina, and sounds like it’s straight out of 1954. Finally, on the ‘A’ side, it’s ‘South’, made famous by among others Bob Wills in 1947 and Bob Scobey’s Frisco Band in ’51-52, and the lyrics were in part written by Ray Charles. This jazzy jewel is another showcase for each instrument as they all get a moment to shine, but don’t think for a moment that the vocals are just incidental.
The ‘B’ side opens with a Max original, ‘Loss’, and he takes the majority of the vocals, immediately put us in mind of George Jones. A cracking country romp, and you’ll love the deep sounding guitar solo, offset with the fiddle. Another duet with a cover of Justin Tubb & Goldie Hill’s 1954 ‘Sure Fire Kisses’, and Max and Sabrina are at the top of their vocal game on this one, with one the perfect accompaniment for the other. A Country styled slowy for you next, with the Max penned duet ‘Somebody’s Gonna Take Your Place’, couples heartache, and slightly maudlin fiddle accompanying the somewhat resentful lyrics.
‘Serenade in G’ is the second Roberto original. This is Western Swing in a pure form, and almost has a jam session feel about the rhythm, quieter and cool, with the vocals adding panache to the tune. ‘Let’s Settle Down’ is a nippy Merle Travis delight, and Max absolutely nails the guitar picking on this one. Topping everything off ‘This Side of Town’ adaptation of Leon McAuliffe w/ Billy Walker’s 1952 cut on Columbia. A smashing tune to conclude the LP track listing.
This El Toro Records release, is excellent, make no bones about it. The track listing is just the right balance of cover songs and new material. Their attention to detail and production is such that every track sounds like it was recorded during the heyday of the Western Swing genre. It is that authentic
First class
The Senti-Mentals – III
CD Review
Yes readers, the Senti-Mentals are back, releasing their third studio album, aptly titled ‘III’. It follows ‘Two Heads’ (1998) and ‘Who Knows, Who Cares’ (2009). For many years, their blend of doo-wop, vocal harmony and contemporary Rock ‘n’ Roll, has filled dance floors across the world. The cover artwork on this Doo-pop Records release, by Tony Diavolo is classy and eye catching.
This CD release has seventeen brand new tracks, good value, and all, bar one, over three minutes long, written by members of the band, and a slightly different line-up. A quick run-down of the personnel for you, with Paul Eccentric taking the lead vocals, the charismatic Den Hegarty on bass vocals, vocals from Steve Webb, John Dobinson sax, piano and vocals, drummer Carl Dobinson and Dragan Zac Zdravkovic playing bass, guitars and taking some of the vocals.
Rightly or wrongly, bands who have a smash hit, seem to have all their future recordings measured against it/them. Well, if you’re wanting to do that, here’s your next track for the next twenty years on the dancefloor, ‘Dance With Me’. Unmistakeably Senti-Mental, perfectly pitched lead vocal against accomplished harmonies. ‘What We Know Now’ is a more genteel pace which has just the smoothest backing vocals. Back on the jive pace with the jazzy, sax and piano driven ‘I Saw This and I Thought of You’ an upbeat-tunes with scolding lyrics.
A touching ballad follows, with ‘The Angels Didn’t Hear’, a love-lament delivered with vocal precision. ‘Kick in the Head’ right from the get-go, immediately put me in of the Belmonts. Cool stroll beat, backing lyrics that recount annoyance with a lover. ‘Rules of Engagement’ is a nippy pace that mourns the rise of social media, taking the place of old-style meeting and dating. Disappointment at the modern-day demise of face-to-face, sung in a doo wop fashion. That works for us.
Another ballad in ‘Lover’s For Eternity’, a true end of the night smoocher this once. The vocals of ‘Out on the Floor’, immediately made me think of the Mills Brothers, or the Crew Cuts. Multiple voices make up the vocals make up another swinging-jive classic, and a cracking guitar solo from Zac. The different levels of vocals in ‘Happiness for Beginners’ is a true delight for listeners and dancers alike. At four minutes duration, it’s the longest on the CD, not that we’re complaining. ‘It’s Not Just Me’ has just about everything you’d want to hear in a doo-wop song, multiple harmony combinations, upward key change mid-way through, a well-pitched lead vocal, set to a toe tapping beat.
A bit of sauce in the lyrics of ‘Getting Jiggy’, a suggestive song mixing the possibility of learning how to ‘dance’, is best learned by listening to the people in the flat next door. Many a wry smile to have listening to this one, folks. Time for a ballad next, with ‘A New Love’, and it’s a story with a twist in the lyrics, within a perfect vocal performance. Up next, ‘Voodoo Doll’, which has almost a paso doble, Latin American feel to the backing, and the accompanying vocals are atmospheric, as the lyrics depict a lovelorn chap, under the spell of this lady.
Looking for a further dance floor jive classic in the making? Here it is, ‘Transient Fling’, and while you’re spinning around, take a minute to appreciate the salacious motive, contained within the lyrics. A doo-wop stroll beat follows this, ‘Lucky Me’, you’re going to hear this quite a bit I reckon. Listeners of a certain vintage, us included, will probably sympathise, and indeed empathise, with the lyrics of ‘Left Behind’. The sentiment will resonate, with Boomers, Gen-X and even Millennials, as you bounce along to this exuberant ditty. Finally, a rip-roaring boogie woogie, ivory tickling, tear up, ‘John’s Boogie’. Show stopping instrumental track to top off the CD from John Dobinson.
Has the twelve-year wait been worth it? A resounding ‘yes’ from us. Seventeen cleverly constructed tracks by Messrs Dobinson, Webb, Eccentric and Zdravkovic. The lead vocals, the harmonies, and the musicianship, are top drawer. DJs, dancers and lovers of fine music, take note, this one’s a must!
CD Review
Yes readers, the Senti-Mentals are back, releasing their third studio album, aptly titled ‘III’. It follows ‘Two Heads’ (1998) and ‘Who Knows, Who Cares’ (2009). For many years, their blend of doo-wop, vocal harmony and contemporary Rock ‘n’ Roll, has filled dance floors across the world. The cover artwork on this Doo-pop Records release, by Tony Diavolo is classy and eye catching.
This CD release has seventeen brand new tracks, good value, and all, bar one, over three minutes long, written by members of the band, and a slightly different line-up. A quick run-down of the personnel for you, with Paul Eccentric taking the lead vocals, the charismatic Den Hegarty on bass vocals, vocals from Steve Webb, John Dobinson sax, piano and vocals, drummer Carl Dobinson and Dragan Zac Zdravkovic playing bass, guitars and taking some of the vocals.
Rightly or wrongly, bands who have a smash hit, seem to have all their future recordings measured against it/them. Well, if you’re wanting to do that, here’s your next track for the next twenty years on the dancefloor, ‘Dance With Me’. Unmistakeably Senti-Mental, perfectly pitched lead vocal against accomplished harmonies. ‘What We Know Now’ is a more genteel pace which has just the smoothest backing vocals. Back on the jive pace with the jazzy, sax and piano driven ‘I Saw This and I Thought of You’ an upbeat-tunes with scolding lyrics.
A touching ballad follows, with ‘The Angels Didn’t Hear’, a love-lament delivered with vocal precision. ‘Kick in the Head’ right from the get-go, immediately put me in of the Belmonts. Cool stroll beat, backing lyrics that recount annoyance with a lover. ‘Rules of Engagement’ is a nippy pace that mourns the rise of social media, taking the place of old-style meeting and dating. Disappointment at the modern-day demise of face-to-face, sung in a doo wop fashion. That works for us.
Another ballad in ‘Lover’s For Eternity’, a true end of the night smoocher this once. The vocals of ‘Out on the Floor’, immediately made me think of the Mills Brothers, or the Crew Cuts. Multiple voices make up the vocals make up another swinging-jive classic, and a cracking guitar solo from Zac. The different levels of vocals in ‘Happiness for Beginners’ is a true delight for listeners and dancers alike. At four minutes duration, it’s the longest on the CD, not that we’re complaining. ‘It’s Not Just Me’ has just about everything you’d want to hear in a doo-wop song, multiple harmony combinations, upward key change mid-way through, a well-pitched lead vocal, set to a toe tapping beat.
A bit of sauce in the lyrics of ‘Getting Jiggy’, a suggestive song mixing the possibility of learning how to ‘dance’, is best learned by listening to the people in the flat next door. Many a wry smile to have listening to this one, folks. Time for a ballad next, with ‘A New Love’, and it’s a story with a twist in the lyrics, within a perfect vocal performance. Up next, ‘Voodoo Doll’, which has almost a paso doble, Latin American feel to the backing, and the accompanying vocals are atmospheric, as the lyrics depict a lovelorn chap, under the spell of this lady.
Looking for a further dance floor jive classic in the making? Here it is, ‘Transient Fling’, and while you’re spinning around, take a minute to appreciate the salacious motive, contained within the lyrics. A doo-wop stroll beat follows this, ‘Lucky Me’, you’re going to hear this quite a bit I reckon. Listeners of a certain vintage, us included, will probably sympathise, and indeed empathise, with the lyrics of ‘Left Behind’. The sentiment will resonate, with Boomers, Gen-X and even Millennials, as you bounce along to this exuberant ditty. Finally, a rip-roaring boogie woogie, ivory tickling, tear up, ‘John’s Boogie’. Show stopping instrumental track to top off the CD from John Dobinson.
Has the twelve-year wait been worth it? A resounding ‘yes’ from us. Seventeen cleverly constructed tracks by Messrs Dobinson, Webb, Eccentric and Zdravkovic. The lead vocals, the harmonies, and the musicianship, are top drawer. DJs, dancers and lovers of fine music, take note, this one’s a must!
Dickie Lee / Bobby Day – repro 45
Robert James Byrd, professionally known as Bobby Day (1930 – 90) could just about do it all. Multi-instrumentalist, singer, songwriter and producer, he’s probably best known commercially for his smash, ‘Rockin’ Robin’. A fair number of his tunes are regular floor fillers, and ‘Teenage Philosopher’ is one such song, with it’s sleek R&B rhythm.
On the flip, Dickey Lee’s ‘Stay True Baby’, from 1957, is a classic chunk of Rockabilly, with a stroll beat.
Robert James Byrd, professionally known as Bobby Day (1930 – 90) could just about do it all. Multi-instrumentalist, singer, songwriter and producer, he’s probably best known commercially for his smash, ‘Rockin’ Robin’. A fair number of his tunes are regular floor fillers, and ‘Teenage Philosopher’ is one such song, with it’s sleek R&B rhythm.
On the flip, Dickey Lee’s ‘Stay True Baby’, from 1957, is a classic chunk of Rockabilly, with a stroll beat.
Jericho Jones – Repro 45
Clifford Trahan (1938 – 2016) recorded under a number of different names, depending on the genre. They included Johnny Blaine, Johnny Rebel and Pee Wee Trahan. His Rockabilly output was recorded as Tommy Todd or as in this case Jericho Jones.
This twin spin repro on Todd Records, features two tracks from separate 1959 singles. ‘Save Your Lovin’ For Sis’ is an upbeat ditty, although quite surprising that part of the lyrics got past the censor. ‘Black Magic’ is a well known dance floor winning bopper, a different beat to the flip side, but a top track
Clifford Trahan (1938 – 2016) recorded under a number of different names, depending on the genre. They included Johnny Blaine, Johnny Rebel and Pee Wee Trahan. His Rockabilly output was recorded as Tommy Todd or as in this case Jericho Jones.
This twin spin repro on Todd Records, features two tracks from separate 1959 singles. ‘Save Your Lovin’ For Sis’ is an upbeat ditty, although quite surprising that part of the lyrics got past the censor. ‘Black Magic’ is a well known dance floor winning bopper, a different beat to the flip side, but a top track
The Travelers – repro 45
The Travelers, were formed as The Pilgrim Travelers in the 1930’s. They dropped the ‘Pilgrim’ part of their name for their secular recordings, two of which are paired together on this single on Andex Records. Their output for Specialty Records as the Pilgrim Travelers, was considerable, however as the Travelers, it was limited to four singles in the late ‘50’s.
They are backed on these two cuts, by the Bumps Blackwell Orchestra. Robert ‘Bumps’ Blackwell was a composer, musician and producer who collaborated with some of Jazz and Rock n Roll’s greats including Little Richard, Ray Charles and Lloyd Price.
‘Green Town Girl’ is a mid-tempo doo-wop jive delight, while ‘Teen Age Machine’ is simply an exuberant pleasure of a tune, with the choral harmony, sharing top billing with the lead vocal. Both are from 1957, and both songs were ‘B’ sides!
An absolute corker of a 45
The Travelers, were formed as The Pilgrim Travelers in the 1930’s. They dropped the ‘Pilgrim’ part of their name for their secular recordings, two of which are paired together on this single on Andex Records. Their output for Specialty Records as the Pilgrim Travelers, was considerable, however as the Travelers, it was limited to four singles in the late ‘50’s.
They are backed on these two cuts, by the Bumps Blackwell Orchestra. Robert ‘Bumps’ Blackwell was a composer, musician and producer who collaborated with some of Jazz and Rock n Roll’s greats including Little Richard, Ray Charles and Lloyd Price.
‘Green Town Girl’ is a mid-tempo doo-wop jive delight, while ‘Teen Age Machine’ is simply an exuberant pleasure of a tune, with the choral harmony, sharing top billing with the lead vocal. Both are from 1957, and both songs were ‘B’ sides!
An absolute corker of a 45
Whispering Smith / Slim Harpo – repro 45
Here are two monster Blues tracks together on this Excello Records repro 45. Moses ‘Whispering’ Smith (1932 – 84) was primarily a harmonica player, accompanying some pretty high-profile names in his day. This is one of his vocal tracks ‘Wake Up Old Maid’, and what a thumping blues bopper it is. On the flip, one of the most revered blues artists played at Rock n Roll gigs, Slim Harpo. Born James Isaac Moore (1924 – 1970), he was a talented guitarist, songwriter and harmonica player. All of which are prominent on this 45rpm with ‘The Music’s Hot’.
It is indeed
Here are two monster Blues tracks together on this Excello Records repro 45. Moses ‘Whispering’ Smith (1932 – 84) was primarily a harmonica player, accompanying some pretty high-profile names in his day. This is one of his vocal tracks ‘Wake Up Old Maid’, and what a thumping blues bopper it is. On the flip, one of the most revered blues artists played at Rock n Roll gigs, Slim Harpo. Born James Isaac Moore (1924 – 1970), he was a talented guitarist, songwriter and harmonica player. All of which are prominent on this 45rpm with ‘The Music’s Hot’.
It is indeed
Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
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Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services if required, as well with your advert, and a clickable link attached to the flyer, which will take customers directly to your webpage or event page on social media. Adverts are £25.00 per month, much less than most printed magazines, and reaching far more potential customers and attendees, more bang for your buck.
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. Whether this will continue into the early part of 2022, is up to the powers that be
When we are able to get out and about, 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:-
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Cheers 'til next month
Andrew and June
Next month. Our reviews of the John Lewis Trio at Wheatley, Doncaster and the Infernos at Hopetown among the other delights, including our interview with Lady Luck Lexy and the Riverside Boys
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. Whether this will continue into the early part of 2022, is up to the powers that be
When we are able to get out and about, 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/
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
Next month. Our reviews of the John Lewis Trio at Wheatley, Doncaster and the Infernos at Hopetown among the other delights, including our interview with Lady Luck Lexy and the Riverside Boys
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