the bettajive review magazine #24
The Infernos at Hopetown reviewed below
Welcome to issue 24 of the Bettajive Review online magazine. Our big interview this month is with Lady Luck Lexy and the Riverside Boys. We've uploaded our reviews of gigs at Wheatley WMC, Doncaster and Hopetown Liberal Club in Normanton. As I write this opening piece, we are currently experiencing another Covid-19 adjustment in restrictions here in the United Kingdom. As we have with all our uploads during the pandemic, we continue to publish current UK Government advice which is available here England to return to Plan A following the success of the booster programme - GOV.UK (www.gov.uk)
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
You say, you ask. Letters and communiqués to the Bettajive Review, and our response to same, and a conversation with next month’s interviewee, Randy Richter (who has had his own share of dimwit comments) prompted this jolly piece. Most of what I write here is anecdotal, as I was once told that no one can argue with your own anecdote.
Indeed, I think the one time I dared to mention a track had been recorded on a certain date, the circling social media, vulture-like purists cried Rock n Roll heresy. ‘I think you’ll find that although that particular Nashville session was on November 15th 1957, the track you mention was officially recorded on November 16th as the session over ran past midnight, because there was a power- cut, due to it being particularly cold for that time of year, and the studio was booked out to another artist the next day…….Andrew? Andrew? Are you awake?’ What’s the betting they live alone?
And you know what readers, some of these examples below may or may not be genuine, so read them with tongue planted cheek. And as a disclaimer, any similarity to anyone’s true name here, is purely coincidental……
Dear Bettasnide review. Your ‘Best Tracks in the World ever ever’ feature you run every month. Well there’s tracks that I don’t like. Why don’t you have tracks like ‘Hey Sal o Ney’, ‘The Boss’ Daughter’ and ‘Somewhere Down The Line’ instead of that ‘Jitterbop Baby’ nonsense. Yours Mr. R. Soul
Bettajive review (BJR) I think you’ve answered your own question there
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Dear Blubbadub ‘Ere, you call yourself a Rockabilly?
BJR Er, no.
Dear Bettanumbbum. I was ages trying to get to your site and read last month’s magazine, due to my security settings, firewall and cookie tracker. I don’t get this on pornypornyporny.com. Can you explain how I can stay safe please?
BJR. Read it wearing a condom I guess
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You say, you ask. Letters and communiqués to the Bettajive Review, and our response to same, and a conversation with next month’s interviewee, Randy Richter (who has had his own share of dimwit comments) prompted this jolly piece. Most of what I write here is anecdotal, as I was once told that no one can argue with your own anecdote.
Indeed, I think the one time I dared to mention a track had been recorded on a certain date, the circling social media, vulture-like purists cried Rock n Roll heresy. ‘I think you’ll find that although that particular Nashville session was on November 15th 1957, the track you mention was officially recorded on November 16th as the session over ran past midnight, because there was a power- cut, due to it being particularly cold for that time of year, and the studio was booked out to another artist the next day…….Andrew? Andrew? Are you awake?’ What’s the betting they live alone?
And you know what readers, some of these examples below may or may not be genuine, so read them with tongue planted cheek. And as a disclaimer, any similarity to anyone’s true name here, is purely coincidental……
Dear Bettasnide review. Your ‘Best Tracks in the World ever ever’ feature you run every month. Well there’s tracks that I don’t like. Why don’t you have tracks like ‘Hey Sal o Ney’, ‘The Boss’ Daughter’ and ‘Somewhere Down The Line’ instead of that ‘Jitterbop Baby’ nonsense. Yours Mr. R. Soul
Bettajive review (BJR) I think you’ve answered your own question there
*****************************************************************
Dear Blubbadub ‘Ere, you call yourself a Rockabilly?
BJR Er, no.
Dear Bettanumbbum. I was ages trying to get to your site and read last month’s magazine, due to my security settings, firewall and cookie tracker. I don’t get this on pornypornyporny.com. Can you explain how I can stay safe please?
BJR. Read it wearing a condom I guess
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Dear Butterjam What is it with you and your fixation with the gulls at the Rockabilly Rave and Rhythm Riot in Camber Sands. Everyone knows that they are in fact Herring Gulls, Larus argentatus and totally harmless. They are not King Gulls as you and your wife have wrongly referred to them in the past. Please rectify this in your next article.
Yours in guano, Thomas Titmouse
BJR When the gulls are the same height as your wife, enter your chalets en masse and have to be ushered out with my behaving like a matador with a towel, have beaks like daggers and steal food out of bags, we reserve the right to call them by an appropriate colloquialism. And you haven’t mentioned the subspecies ‘Koff King Gull’
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Dear Bettabag I’ve fallen out with my girlfriend. She has a huge collection of vintage handbags, everywhere I look there’s a vintage handbag, they’re driving me nuts. I trip over them, knock them down and spill the contents over the floor. There’s Lucite bags, wicker bags, saddle bags, leather tooled bags, suede bags, straw bags and beaded bags. Here’s a photograph of my girlfriend holding one of her vintage bags. What do you think? Yours, Lucy Ite’s boyfriend
BJR. I have to say, that’s a lovely picture of an old bag
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Dear Bettanutsquash. I hate those phone calls you have to make with those numbered options. I’m about to make a booking for a show called ‘Blue Suede Shoes’, how can I get past that awful phone selection thing to pay for the tickets.
BJR Simple formula to follow, its 1 for the money, 2 for the show…..
*************************************************************
Dear Can’t Believe it’s not Butterjive. Cor that band we saw at that weekender late last year on the Saturday night. Their versions of ‘High Class Lady’, ‘Under the Moon of Love’ ‘Witch Doctor’ and ‘Hey Paula’ were fantastic. A great Saturday night band don’t you think?
BJR Well they certainly put the ‘turd’ in Sa-turd-ay for me
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Dear Bettajive Rewaddywaddy. You keep moaning about that band you nick named ‘the Wad’. Unlike you, I’ve got a soft spot for them.
BJR I’ve got a soft spot for them too, it’s called the Okavango swamps
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Dear Bettajivejivejive. You and your missus reckon you can jive dontcha? Well, I saw some real jiving on the telly the other night. Where are your kicks and flicks, and how come you don’t do any separation moves? Oh, and why don’t you do the Charleston Stroll? What’s the matter with you two? Yours, Mr J. Bunny
BJR For a variety of reasons, namely we don’t want to wipe out every other dancer on the floor, it’s not a competition, Rock n Roll dance is freestyle, it’s about enjoyment, loving the music. Oh and the Charleston Stroll? Well, I don’t want to look like a tw*t.
***************************************************************
Dear Mr. A. Smith, (if indeed that is your real name, you sure it’s not Mr J. Bloggs, or Mr A. N. Other hur hur hur). Last mag, you said you’d reached two hundred opening skits? Personally, I think your articles are crap, and I don’t read them. You repeat yourself so often, I mean in 2015, you repeated an article theme you used in 2007, and in your so called ‘Best tracks in the world ever ever’ you selected ‘A Gal Called Sal’ by Lightnin’ Hopkins on three occasions.
I don’t think your articles are funny, and I have a friend in Nottingham, who also doesn’t find them funny either. I only read this issue to register my disgust, however my disgust has been compounded over the last eighteen years, with every issue I’ve seen. And you keep repeating yourself too.
Keep the rockin’ scene alive, respect mate.
Brian ‘Brown Ale’ Blunderbuss
BJR. Dear Brian (if indeed that’s your real name) Guilty as charged. Thank you for your observations, and registering your relevant disgust, and your representation of the disgust felt by your ‘friend’ in Nottingham. Although you’re probably not reading this, such is your nauseated red mist of disgust
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Dear Mr. Bettajive. Me and my fourteen-year-old son live in London and we want to get onto the rockin’ scene, but we suffer terribly from Acne. What should we do?
BJR Move to ‘Aringey or ‘Ounslow.
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Hi Andy mate. We are the Rockin’ Nip-Nip-Coyote Breaths, and we’ve just got a batch of our new CDs here. Would you like to review it for us?
BJR Certainly, here’s my address. We listen to them at least four times before writing a word, then you get a review uploaded to (this) magazine, and posted on our website for around a year, when you can have the review to use yourselves.
Hi Andy mate. Great, they are £10 plus P&P
BJR Sorry for my tardy reply, I broke a rib laughing at your last post.
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Dear Bertie Jove. You’re grammer and spelling in you’re artickles is rubish. I can knot remember the last time I red you’re revoow and dint pick out at least a dozen, sumtimes even twelve mistakes.
Yors sinceerly
Geraint Horseposture-Arbuthnot B.A.
BJR Finally someone who is as carp at spilling as I am.
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Dear Bitter Jibe. I want to write a Rockabilly song, but I just can’t get started. What do you suggest?
BJR Weeeeeeeeeeeellllll, Let’s think about that.
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Dear Mr. Butter Jam. What are you like? You keep on about how 50’s you are, but your car isn’t, you wear jeans that are this year’s season, you don’t drink, you haven’t got any tattoos, you were born in the 60’s, and you play CDs.
Me on the other hand, I’m dead fifties, my car is a ’56 Chevy, I only buy vinyl or 78’s and play them on a Wurlitzer jukebox from 1956, or an original Dansette record player. I drink Ind Coope Nut Brown Ale. My house has a butler sink, lead pipes, a tin bath over the fireplace and a bog down at the bottom of the garden. I’m dead-proper fifties, you’re not, you clod!
Al 'The Tin Bath Ted' Tooting
Sent from my iPad (you can download an app to see the pics of my house I uploaded or check out my Insta, Tik Tok and Facebook)
Yours in guano, Thomas Titmouse
BJR When the gulls are the same height as your wife, enter your chalets en masse and have to be ushered out with my behaving like a matador with a towel, have beaks like daggers and steal food out of bags, we reserve the right to call them by an appropriate colloquialism. And you haven’t mentioned the subspecies ‘Koff King Gull’
*******************************************************************
Dear Bettabag I’ve fallen out with my girlfriend. She has a huge collection of vintage handbags, everywhere I look there’s a vintage handbag, they’re driving me nuts. I trip over them, knock them down and spill the contents over the floor. There’s Lucite bags, wicker bags, saddle bags, leather tooled bags, suede bags, straw bags and beaded bags. Here’s a photograph of my girlfriend holding one of her vintage bags. What do you think? Yours, Lucy Ite’s boyfriend
BJR. I have to say, that’s a lovely picture of an old bag
*******************************************************************
Dear Bettanutsquash. I hate those phone calls you have to make with those numbered options. I’m about to make a booking for a show called ‘Blue Suede Shoes’, how can I get past that awful phone selection thing to pay for the tickets.
BJR Simple formula to follow, its 1 for the money, 2 for the show…..
*************************************************************
Dear Can’t Believe it’s not Butterjive. Cor that band we saw at that weekender late last year on the Saturday night. Their versions of ‘High Class Lady’, ‘Under the Moon of Love’ ‘Witch Doctor’ and ‘Hey Paula’ were fantastic. A great Saturday night band don’t you think?
BJR Well they certainly put the ‘turd’ in Sa-turd-ay for me
**************************************************************
Dear Bettajive Rewaddywaddy. You keep moaning about that band you nick named ‘the Wad’. Unlike you, I’ve got a soft spot for them.
BJR I’ve got a soft spot for them too, it’s called the Okavango swamps
**************************************************************
Dear Bettajivejivejive. You and your missus reckon you can jive dontcha? Well, I saw some real jiving on the telly the other night. Where are your kicks and flicks, and how come you don’t do any separation moves? Oh, and why don’t you do the Charleston Stroll? What’s the matter with you two? Yours, Mr J. Bunny
BJR For a variety of reasons, namely we don’t want to wipe out every other dancer on the floor, it’s not a competition, Rock n Roll dance is freestyle, it’s about enjoyment, loving the music. Oh and the Charleston Stroll? Well, I don’t want to look like a tw*t.
***************************************************************
Dear Mr. A. Smith, (if indeed that is your real name, you sure it’s not Mr J. Bloggs, or Mr A. N. Other hur hur hur). Last mag, you said you’d reached two hundred opening skits? Personally, I think your articles are crap, and I don’t read them. You repeat yourself so often, I mean in 2015, you repeated an article theme you used in 2007, and in your so called ‘Best tracks in the world ever ever’ you selected ‘A Gal Called Sal’ by Lightnin’ Hopkins on three occasions.
I don’t think your articles are funny, and I have a friend in Nottingham, who also doesn’t find them funny either. I only read this issue to register my disgust, however my disgust has been compounded over the last eighteen years, with every issue I’ve seen. And you keep repeating yourself too.
Keep the rockin’ scene alive, respect mate.
Brian ‘Brown Ale’ Blunderbuss
BJR. Dear Brian (if indeed that’s your real name) Guilty as charged. Thank you for your observations, and registering your relevant disgust, and your representation of the disgust felt by your ‘friend’ in Nottingham. Although you’re probably not reading this, such is your nauseated red mist of disgust
******************************************************************
Dear Mr. Bettajive. Me and my fourteen-year-old son live in London and we want to get onto the rockin’ scene, but we suffer terribly from Acne. What should we do?
BJR Move to ‘Aringey or ‘Ounslow.
********************************************************************
Hi Andy mate. We are the Rockin’ Nip-Nip-Coyote Breaths, and we’ve just got a batch of our new CDs here. Would you like to review it for us?
BJR Certainly, here’s my address. We listen to them at least four times before writing a word, then you get a review uploaded to (this) magazine, and posted on our website for around a year, when you can have the review to use yourselves.
Hi Andy mate. Great, they are £10 plus P&P
BJR Sorry for my tardy reply, I broke a rib laughing at your last post.
********************************************************************
Dear Bertie Jove. You’re grammer and spelling in you’re artickles is rubish. I can knot remember the last time I red you’re revoow and dint pick out at least a dozen, sumtimes even twelve mistakes.
Yors sinceerly
Geraint Horseposture-Arbuthnot B.A.
BJR Finally someone who is as carp at spilling as I am.
*******************************************************************
Dear Bitter Jibe. I want to write a Rockabilly song, but I just can’t get started. What do you suggest?
BJR Weeeeeeeeeeeellllll, Let’s think about that.
********************************************************************
Dear Mr. Butter Jam. What are you like? You keep on about how 50’s you are, but your car isn’t, you wear jeans that are this year’s season, you don’t drink, you haven’t got any tattoos, you were born in the 60’s, and you play CDs.
Me on the other hand, I’m dead fifties, my car is a ’56 Chevy, I only buy vinyl or 78’s and play them on a Wurlitzer jukebox from 1956, or an original Dansette record player. I drink Ind Coope Nut Brown Ale. My house has a butler sink, lead pipes, a tin bath over the fireplace and a bog down at the bottom of the garden. I’m dead-proper fifties, you’re not, you clod!
Al 'The Tin Bath Ted' Tooting
Sent from my iPad (you can download an app to see the pics of my house I uploaded or check out my Insta, Tik Tok and Facebook)
BJR. Oh the irony! I expected a letter with a 2½d stamp. Presumably, Tooting is where you live, as opposed to the noise the neighbours can hear from the thunderbox at the bottom of our garden. Isn’t the ale past the sell by date now?
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Dear Sir/Madam (please delete as appropriate) Why do you bother writing so many words? It’s pointless, all we really need are some quality images and photos to look at to get a feel for an event. After all, a picture is worth a thousand words.
BJR So much so, that every picture has a worded caption…
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Dear Rockabilly-Houndog-Blues. I knew you at school. You and your Rockabilly mates used to walk about with a portable cassette player, playing loud Rock n Roll music, and trying to look hard. Do you still do that?
BJR The only way I can look hard these days, is to rub Viagra® in my eyes (other erectile dysfunction treatments, are available……..I’m told). As for the cassette tapes, those and a pencil, were the only thing that made double maths remotely tolerable. Ask your parents, kids.
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Dear Betta-titterjive. All these innuendos you keep using. Are you trying to be Frankie Howerd?
BJR. Ooer, no missus no
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Dear Butterbean Stew. You were supposed to write an article on ‘Apathy in the Rock n Roll scene’ Why isn’t it done?
BJR. Couldn’t be arsed
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Bear Bettajive No-clue. You review those repro 45’s and sometimes say that you’ve never heard a song before. Did you never go to the Hubba Hubba Bing Bing club in ’58, you clod, they used to play those tunes all the time. Like I’ve said before, you ain’t fifties are ya
Al ‘The Tin Bath Ted’ Tooting
BJR. Guilty as charged, given I wasn’t even a foetus in ’58.
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Hello Meester Rockabeellee. Me love you long time and have $1bn to access, and need to know you better to do so. Sending details to me so much money can penetrate your account please.
BJR Ooo, lovely, but just use the button below.
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Dear Sir/Madam (please delete as appropriate) Why do you bother writing so many words? It’s pointless, all we really need are some quality images and photos to look at to get a feel for an event. After all, a picture is worth a thousand words.
BJR So much so, that every picture has a worded caption…
****************************************************************
Dear Rockabilly-Houndog-Blues. I knew you at school. You and your Rockabilly mates used to walk about with a portable cassette player, playing loud Rock n Roll music, and trying to look hard. Do you still do that?
BJR The only way I can look hard these days, is to rub Viagra® in my eyes (other erectile dysfunction treatments, are available……..I’m told). As for the cassette tapes, those and a pencil, were the only thing that made double maths remotely tolerable. Ask your parents, kids.
****************************************************************
Dear Betta-titterjive. All these innuendos you keep using. Are you trying to be Frankie Howerd?
BJR. Ooer, no missus no
*****************************************************************
Dear Butterbean Stew. You were supposed to write an article on ‘Apathy in the Rock n Roll scene’ Why isn’t it done?
BJR. Couldn’t be arsed
******************************************************************
Bear Bettajive No-clue. You review those repro 45’s and sometimes say that you’ve never heard a song before. Did you never go to the Hubba Hubba Bing Bing club in ’58, you clod, they used to play those tunes all the time. Like I’ve said before, you ain’t fifties are ya
Al ‘The Tin Bath Ted’ Tooting
BJR. Guilty as charged, given I wasn’t even a foetus in ’58.
********************************************************************
Hello Meester Rockabeellee. Me love you long time and have $1bn to access, and need to know you better to do so. Sending details to me so much money can penetrate your account please.
BJR Ooo, lovely, but just use the button below.
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Dot….dot. Best tracks in the world ever ever to rise your soufflés for this month are ‘Hip Hip Baby’ by Dennis Herrold, ‘Hip Shakin’ Mama’ by Jackie Lee Cochran and Jerry Lee Lewis’ version of ‘Hand Me Down My Walking Cane’. There’s a theme there, which will become apparent below……..Heard Louis Prima ‘Hey Marie’ on a TV advert for laundry sheets the other night, two Link Wray tunes, ‘The Swag’ and ‘Rumble’ on others and the Flamingos ‘I Only Have Eyes For You’ advertising Alexa (other cloud based voice operated service apparatuses, are available). What’s commonplace for many of us, must have the wow factor for those hearing it for the first time. The advertisers must know their stuff……The two gigs reviewed below, took place at the back end of 2021. We haven’t been to any events since the middle of December 2021, due to the rapid deterioration of June’s left hip. We managed a couple of jives at Hopetown, but that’s been it. Happily now though, she has had a full replacement (matching the one she had fitted on the right side in ’14) and is recuperating & exercising. There’s a way to go as yet, but we’re looking forward to getting back on that floor folks…….. soon 😊
Word is that the Sundown Boys and the Spellcasters have been added to this line up. Click the flyer for details
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
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From Claire and Neil Seabrook of Boston Jive.
FINALLY!!! - AMAZING HOT ROCK n BOOGIE POST!!
I am so incredibly pleased to be able to share our awesome flyer with you for our weekender! ONLY A FEW WEEKS TO GO!!
This has been the most stressful event I have ever planned and anyone who knows us will tell you, we are very honest people and so I intend to be honest with you all.
We have had to postpone this event twice because of the pandemic - so many changes, the landscape constantly moving and the stress levels have been beyond awful, to the point I haven't slept for a long time now. We have lost much needed backers, so it's all down on us again, which is terrifying after the toughest two years we have ever endured, we've had band issues (through no fault of theirs or ours, just bloody 'rona!!) and then an extended wait for the flyers to share with you. It truly has been one thing after another that bit by bit has worn me down.... but.... the show WILL go on!!
A HUGE thank you to our wonderful, extremely talented friend, Faith Cowling for stepping in at very short notice (literally yesterday afternoon!) and producing this exception flyer for us. I must say that after all the stress, which has really bogged me down, seeing this little beauty has brought the fire and excitement for it back to me and I cannot thank her enough for that
Tickets are on sale NOW - see the flyer for all payment details but you can also purchase them from classes.
We are going to rock Spalding this May - at last!! xxx
FINALLY!!! - AMAZING HOT ROCK n BOOGIE POST!!
I am so incredibly pleased to be able to share our awesome flyer with you for our weekender! ONLY A FEW WEEKS TO GO!!
This has been the most stressful event I have ever planned and anyone who knows us will tell you, we are very honest people and so I intend to be honest with you all.
We have had to postpone this event twice because of the pandemic - so many changes, the landscape constantly moving and the stress levels have been beyond awful, to the point I haven't slept for a long time now. We have lost much needed backers, so it's all down on us again, which is terrifying after the toughest two years we have ever endured, we've had band issues (through no fault of theirs or ours, just bloody 'rona!!) and then an extended wait for the flyers to share with you. It truly has been one thing after another that bit by bit has worn me down.... but.... the show WILL go on!!
A HUGE thank you to our wonderful, extremely talented friend, Faith Cowling for stepping in at very short notice (literally yesterday afternoon!) and producing this exception flyer for us. I must say that after all the stress, which has really bogged me down, seeing this little beauty has brought the fire and excitement for it back to me and I cannot thank her enough for that
Tickets are on sale NOW - see the flyer for all payment details but you can also purchase them from classes.
We are going to rock Spalding this May - at last!! xxx
gig reviews
John Lewis
Wheat and greet. A visit to a club, in late November, while the rain whipped across the route on gale force winds? It would have to be a worthwhile turn on wouldn’t it. Up to the Wheatley Club in Doncaster, from Wales, John Lewis in trio form, supported by Simon Flintstone on sounds (from the caves of Wales). This was a new venue to us, and given the décor around the stage, clearly one used a lot for Northern Soul events. This night however, was wall to wall rocking.
Several braved the weather to support the event, as with some of these post-Covid restriction events, numbers were a little light. Flintstone, has been a mainstay of our lockdown(s) with his Sunday evening shows on social media, showcasing some outstanding vinyl sets. Many of you will be familiar with the back of his head, quirky hat-wear and wonky worn glasses, 😊 I’m sure if you’ve scrolled through on a Sunday night. Most of those shows were followed by ‘Curly’ John Lewis doing a one man set at his home. So good to see them both ‘live’. Cracking DJ sets from Flinty, from the opening rocker right up to his signature closing track of ‘Somewhere Over The Rainbow’ by Hawaiian musician Israel Kamakawiwo'ole.
John Lewis, lead guitarist and vocalist, was joined on this occasion by John Cavener on upright bass and regular drummer Billy Roberts. So much versatility in the two sets. The Mac Curtis based tribute song, ‘Flat Top Cat’ with it’s frantic beat and semi-maniacal vocal delivery for example, to the perfect pitch of ‘Please Don’t Let Me Love You’. This gives Hank Williams’ ’55 MGM release a reworking with a jive tempo.
Offsetting that was the instrumental oddity ‘Where’s Me F*****g Snouts’, and the title track to the album ‘Sanity’. From 2019, came the bluesy sounding ‘It Hurts When I’m Sober’, and the classic bopper ‘Tornado’ originally by the Jiants, one of the first tracks John performed with the Rimshots, around the time the Romans left Britain. Eddie Bond’s ‘Here Comes That Train’, Ronnie Love’s ’Chills and Fever’ got the Trio treatment too. It’s always good to hear his own stuff as well, including the heart-string puller that’s ‘It Hurts’, conceived while the rain in Wales lashed sideways against a building John was in at the time.
Top stuff as always. Check out his YouTube channel as well and the recently Bandcamp site. Pics below in gallery format, click on the for full sized image
Several braved the weather to support the event, as with some of these post-Covid restriction events, numbers were a little light. Flintstone, has been a mainstay of our lockdown(s) with his Sunday evening shows on social media, showcasing some outstanding vinyl sets. Many of you will be familiar with the back of his head, quirky hat-wear and wonky worn glasses, 😊 I’m sure if you’ve scrolled through on a Sunday night. Most of those shows were followed by ‘Curly’ John Lewis doing a one man set at his home. So good to see them both ‘live’. Cracking DJ sets from Flinty, from the opening rocker right up to his signature closing track of ‘Somewhere Over The Rainbow’ by Hawaiian musician Israel Kamakawiwo'ole.
John Lewis, lead guitarist and vocalist, was joined on this occasion by John Cavener on upright bass and regular drummer Billy Roberts. So much versatility in the two sets. The Mac Curtis based tribute song, ‘Flat Top Cat’ with it’s frantic beat and semi-maniacal vocal delivery for example, to the perfect pitch of ‘Please Don’t Let Me Love You’. This gives Hank Williams’ ’55 MGM release a reworking with a jive tempo.
Offsetting that was the instrumental oddity ‘Where’s Me F*****g Snouts’, and the title track to the album ‘Sanity’. From 2019, came the bluesy sounding ‘It Hurts When I’m Sober’, and the classic bopper ‘Tornado’ originally by the Jiants, one of the first tracks John performed with the Rimshots, around the time the Romans left Britain. Eddie Bond’s ‘Here Comes That Train’, Ronnie Love’s ’Chills and Fever’ got the Trio treatment too. It’s always good to hear his own stuff as well, including the heart-string puller that’s ‘It Hurts’, conceived while the rain in Wales lashed sideways against a building John was in at the time.
Top stuff as always. Check out his YouTube channel as well and the recently Bandcamp site. Pics below in gallery format, click on the for full sized image
The Infernos
Ho Ho Hopetown. Last gig of 2021 for us, and a trip up to the Liberal Club at Hopetown, Normanton. This, thanks for ‘rona, was the first event at Rockin’ at the Hopetown since before Pontius was a Pilate it seemed. No worries when you return with a quality line up like this night, featuring the sounds of the Infernos on stage and direct from Scotlandshire, DJ Tojo on sounds.
The venue was healthily populated, even early doors, with the most positive of festive vibes as well. The sounds spun from the decks was a divine mix of classic RnR and R&B through to thumping Rockabilly and Blues. That got them out on the floor for sure.
The Infernos have a considerable pedigree already and the line-up of brothers Ian Agar on rhythm guitar and drummer Gary Agar, with Mick Wheeler on double bass and lead guitarist Ian Rhodes. There aren’t many bands that can replicate the Sun and Starday Rockabilly sounds as well as the Infernos, and if you heard the opening tune, Roy Orbison’s ‘Rockhouse’, you’d know what we mean.
Check out this playlist peeps. Carl Perkins’ ‘Where the Rio De Rosa Flows’, wonderfully accurate, Jack Earls’ ‘Hey Slim’ is a delight with Ian Rhodes’ guitar work, Jack Lane’s ‘King Fool’, Hank/Warren Smith’s ‘Dear John’, and Billy Lee Riley’s ‘Trouble Bound’ kicked some serious tucus.
With the room full, the dancefloor full and the atmosphere taking everyone back to pre-virus times, the four lads took the stage for the second set, which picked up where the first left off. One of my favourite covers they do, that of Johnny Knight’s ‘Rock n Roll Guitar’ blasted off set two, with among others Carl Mann’s ‘Look At That Moon’ and another Jack Earls Rockabilly classic ‘Crawdad Hole’. The ballsy blues bop sound of Tarheel Slim’s ‘Number Nine Train’ had lead guitarist channelling his finest Jimmy Spruill throughout, while Jape Richardson’s ‘Crazy Blues’ rolled along with ‘Money Honey’ (take your pick of artists that did this song) and Marlon Grisham’s ‘Ain’t That A Dilly’ simply rocked.
As you can probably gather readers, it’s not all frantic, the set is varied and classic in it’s choices. The band produce a tight sound and rock all night, closing with Benny Joy’s ‘Crash The Party’. Outstanding. Gallery pics below, click on them for the full sized image
The venue was healthily populated, even early doors, with the most positive of festive vibes as well. The sounds spun from the decks was a divine mix of classic RnR and R&B through to thumping Rockabilly and Blues. That got them out on the floor for sure.
The Infernos have a considerable pedigree already and the line-up of brothers Ian Agar on rhythm guitar and drummer Gary Agar, with Mick Wheeler on double bass and lead guitarist Ian Rhodes. There aren’t many bands that can replicate the Sun and Starday Rockabilly sounds as well as the Infernos, and if you heard the opening tune, Roy Orbison’s ‘Rockhouse’, you’d know what we mean.
Check out this playlist peeps. Carl Perkins’ ‘Where the Rio De Rosa Flows’, wonderfully accurate, Jack Earls’ ‘Hey Slim’ is a delight with Ian Rhodes’ guitar work, Jack Lane’s ‘King Fool’, Hank/Warren Smith’s ‘Dear John’, and Billy Lee Riley’s ‘Trouble Bound’ kicked some serious tucus.
With the room full, the dancefloor full and the atmosphere taking everyone back to pre-virus times, the four lads took the stage for the second set, which picked up where the first left off. One of my favourite covers they do, that of Johnny Knight’s ‘Rock n Roll Guitar’ blasted off set two, with among others Carl Mann’s ‘Look At That Moon’ and another Jack Earls Rockabilly classic ‘Crawdad Hole’. The ballsy blues bop sound of Tarheel Slim’s ‘Number Nine Train’ had lead guitarist channelling his finest Jimmy Spruill throughout, while Jape Richardson’s ‘Crazy Blues’ rolled along with ‘Money Honey’ (take your pick of artists that did this song) and Marlon Grisham’s ‘Ain’t That A Dilly’ simply rocked.
As you can probably gather readers, it’s not all frantic, the set is varied and classic in it’s choices. The band produce a tight sound and rock all night, closing with Benny Joy’s ‘Crash The Party’. Outstanding. Gallery pics below, click on them for the full sized image
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Interview with Lady Luck Lexy and the Riverside Boys
Around three years ago, we were sent a CD by a band we’d seen all over social media, promising ‘Rockabilly with a sultry twist’. And indeed they delivered. Just as we were targeting a live show, Covid-19 hit, and everything closed. We finally got to see a show at Hemsby 63, a review of which you can read in issue #23. Naturally we wanted to get the low down on the band from God’s own county of Essex.
BJR. First things first, who are the players in the band?
LLL: There is me, Lexy, then Nick Bayford on guitar and Chris Tymon on double bass.
BJR. What is your individual musical background?
LLL: It’s lengthy for a few of us! I started playing in a totally different music genre around 1997. I was a drummer for an electro-industrial band until 2014 that toured extensively all over the word. I occasionally got to creep out from behind my kit for a few vocal numbers but mainly did backing vocals. Right around 2010 I started my first rockabilly band with just me as the singer, but I only started to take it seriously a few years later.
NB: I started playing the guitar at about 10 years old. Have been lucky enough to record and play with a variety of credible artists over the years including Charlie Gracie and Linda Gail Lewis.
CT: I come from a psychobilly background and have played in a couple bands over years, most notably Viva la pink.
BJR. How, and indeed, when was the band formed?
LLL: Nick and I met about 9 years ago and had talked about doing music together. He was already established and I wasn’t happy with the band line up that I had at the time and was looking to move on. So we decided to get together musically and put an ad out on social media for musicians. That was around 2015. We actually did it like an audition process in a rehearsal studio. Chris was the first to really click with all of us and it just grew from there. We went through a few drummers, our first one sticking around for the first two years, then left just as things were heating up for the band. There was a succession of drummers to follow but in the end, we just gave up on the idea and I went back to drum duties.
BJR. And what inspired the band’s name?
LLL: My own moniker I had been using as a rockabilly DJ for over 10 years so I just kept that. The band were christened with their name after the studio that we regularly rehearsed in, Riverside Studios. We mulled over a name for weeks but that one seemed to just stick.
BJR. Do you all have input into the band’s style, be it Rockabilly, R&B or Rock ‘n’ Roll?
LLL: This is where I get a little selfish…I ultimately decide the direction that I want the band to go in. I have always had crazy ideas for covers and even the original sounds. After coming from a musical background that catered to the gothic genre, I like to utilise moods and dark topics, a little how ‘I’m On Fire’ came about…but in general, if it feels rockin’ then it is to be. After performing at VLV three years running, I grew to really love the sounds that the American bands are churning out right now. It has a bluesier and grittier edge to it. It works in Europe as well.
BJR. Are there any songs that always make the set list in your shows?
LLL: All of our originals do and a few that we have been playing since the beginning like ‘As Long As I’m Moving’ and ‘House of Blue Lights’.
BJR. A question for you Lexy, did you learn the drums in the ‘conventional’ seated way and develop as a stand-up player, or did you learn standing, so to speak?
LLL: Yes I did!! I bought my first drum kit when I was 15. It was a generic 5-piece kit from a music shop. My parents were very reluctant to allow me to have it, but my dad and my sister were quite musical, so my mom eventually was outnumbered. I was initially inspired by Gina Shock and Debbi Peterson, even though people used to tell me ALL the time ‘There is no market for female drummers’. I always knew that I had to be more than just a drummer plus I always loved to sing. I was really enthralled by watching Sheila E* stand and play percussion while singing at the same time, I knew that I wanted to be all three of those women wrapped up in one.
*BJR, readers, you can see the influences.
BJR. How did the Covid-19 lockdowns affect you all? Were you able to be creative at all or was it a case of put the instruments away for that period of time?
NB: thankfully Alexys and myself see each other quite often, so music always features one way or another in our delay life. It was however was the longest time spent away from our bass player and friend Chris. We had many gigs booked over the initial covid period that were obviously cancelled, we found ourselves doing some online performances which was a new experience but rewarding and challenging in its on way.
BJR. What did that first gig back feel like?
NB: We do feel quite privileged in a sense as although we lost MANY gigs, we also somehow managed to pick up quite a few especially outside shows when of course the easing of restrictions allowed. We also had a few indoor gigs when once again restrictions changed, was a completely different experience, but we love performing so took all that we could from it.
BJR. You released the five track CD in the summer of ’19, are there any plans for further recordings?
NB: Very much so, we have a whole new bunch of songs that we’ve written since the last recording and have a handful of semi finished ideas that we are very excited about
BJR. Other plans for the future you’d like to share with us?
LLL: We’re back for a 4th time at the Viva Las Vegas Rockabilly Weekend #25 as well as quite a few gigs booked at some well established rockin’ clubs around the country. We’re also back in Sweden again next year! The main project we’re working on is a full length album with a combination of originals and some really fun covers.
BJR. Finally, how can people get in touch with the band for bookings, merchandise and everything else?
LLL: You can email us on [email protected], visit our website, www.LadyLuckLexy.com or you can grab us on the socials @LadyLuckLexyandtheRiversideBoys.
BJR. Thank you for taking part in this interview, good luck for the future
LLL: Many thanks indeed, and thank you for being such a huge support in the rockin’ scene!
NB: thankfully Alexys and myself see each other quite often, so music always features one way or another in our delay life. It was however was the longest time spent away from our bass player and friend Chris. We had many gigs booked over the initial covid period that were obviously cancelled, we found ourselves doing some online performances which was a new experience but rewarding and challenging in its on way.
BJR. What did that first gig back feel like?
NB: We do feel quite privileged in a sense as although we lost MANY gigs, we also somehow managed to pick up quite a few especially outside shows when of course the easing of restrictions allowed. We also had a few indoor gigs when once again restrictions changed, was a completely different experience, but we love performing so took all that we could from it.
BJR. You released the five track CD in the summer of ’19, are there any plans for further recordings?
NB: Very much so, we have a whole new bunch of songs that we’ve written since the last recording and have a handful of semi finished ideas that we are very excited about
BJR. Other plans for the future you’d like to share with us?
LLL: We’re back for a 4th time at the Viva Las Vegas Rockabilly Weekend #25 as well as quite a few gigs booked at some well established rockin’ clubs around the country. We’re also back in Sweden again next year! The main project we’re working on is a full length album with a combination of originals and some really fun covers.
BJR. Finally, how can people get in touch with the band for bookings, merchandise and everything else?
LLL: You can email us on [email protected], visit our website, www.LadyLuckLexy.com or you can grab us on the socials @LadyLuckLexyandtheRiversideBoys.
BJR. Thank you for taking part in this interview, good luck for the future
LLL: Many thanks indeed, and thank you for being such a huge support in the rockin’ scene!
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cd and vinyl reviews
A selection of this month's new releases, reissues and repros, available at this another record suppliers
The Jets – Hear Me Now
CD review
There are bands on the Rock n Roll circuit that come and go in a heartbeat, some that make a massive impression and then disappear almost as quickly, and then there’s bands like The Jets. Their studio album previous to this release, celebrated forty years in the business, which would have almost been a swansong for many. Not so for Bob, Ray and Tony Cotton, who bounced back from the Covid-19 enforced hiatus with ‘Hear Me Now’, containing fourteen, top grade tunes, all bar one being original Ray Cotton compositions, incorporating a variety of musical styles.
Some of these songs had been showcased at live events just before the world went mad, taking the opening track, which is also the title track ‘Hear Me Now’ as an example. The opening guitar and beat immediately gets the juices flowing, a powerful bopper which has strains of early Johnny Burnette to the resonance, with Bob’s vocal delivery and Ray’s searing guitar break. Ray takes lead vocals on ‘I’m a Rocker’, which also features the saxophone and piano talents of guest musician John Dobinson. This is a nippy and pacy tune the lyrics of which leave you in no doubt the subject is indeed, a rocker.
A mid-tempo Rockabilly number next, with, dare I suggest, a tinge of country. There are songs in the band’s repertoire, that fans could say are definitive ‘Jets’ sounds and ‘Annie’ is one such fine example, with Bob’s upbeat vocal lilt, almost masking the slight sadness in the lyrics. I’m going out on a limb here and suggesting that ‘Much Too Good (For You)’ will fill dancefloors and the backing vocal hook, will stay in your brain forever. A stroll beat, with the catchiest of rhythms and vocal harmonies which are pitch perfect. An absolute gem.
Ramping up the pace again, ‘Call the Police’, which is a full on rocker with a thumping back beat from Tony and Bob in the rhythm engine-room, complementing two kicking guitar solos from Ray. Another change in style with ‘Dreamy Eyes’. From the opening notes, we immediately though of the Joe Meek style of production, a kind of space-age, early sixties sound using reverb on the vocals and instruments. Thoughts of the best Billy Fury and Johnny Leyton ballads spring to mind when you hear Ray’s vocals on this four-minute delight.
What about a blue bopper then? How about ‘It Is What It Is’ a growling and gritty guitar driven maraca-tastic floor shaker of a track. Double-dig it folks. That’s followed by another early sixties sounding track, ‘Girl of a Thousand Dreams’, some light respite from the intensity of the preceding track. A mainstay of the Jets’ live set over the years is next, the hugely popular ‘Jezebel’. Based on the biblical Queen Jezebel, wife of King Ahab, Wayne Shanklin’s 1951popular song was originally recorded by Frankie Laine with Mitch Miller’s Orchestra. Here the Jets retain the original rhythm, which has a kind of Paso Doble feel to the guitar work.
Back to the original songs again, and a shout-back rocker ‘Stand By For Action’ with ‘Love You A Little Bit More’ following on, a song about devotion including the inspired lyric ‘I’ll hold you closer than your shirt’. Says it all really. The brothers ‘do’ doo wop harmonies, and here’s a fine example in ‘Cry’, which is a sublime acca pella lament, delivered with considerable vocal accomplishment. If you love vocal harmony, you’ll fall head over heels for this number.
Before Covid closed everything down, a Jets live event featured ‘Little Doll’ as a taster for this CD (and on the previous release 40 Rockin Years). This is a joyous and bright sounding love song, and at just over two minutes long, the shortest on the CD. Just right for jivers methinks. Rounding things off ‘You Are My Temptation’ which has a Belmonts feel to the rhythm and delivery, and another fine example of the trio’s versatility.
There are things that, as the years go by, mature, and if anything, increase in quality. Such is the case with the Jets. The sound, the delivery both vocally and musically and the quality and diversity of the song writing, on this CD, ticks every box. If you’re a dyed in the wool fan of many years, or new to their sound, you’ll love this.
Available here Home | TheJets UK
CD review
There are bands on the Rock n Roll circuit that come and go in a heartbeat, some that make a massive impression and then disappear almost as quickly, and then there’s bands like The Jets. Their studio album previous to this release, celebrated forty years in the business, which would have almost been a swansong for many. Not so for Bob, Ray and Tony Cotton, who bounced back from the Covid-19 enforced hiatus with ‘Hear Me Now’, containing fourteen, top grade tunes, all bar one being original Ray Cotton compositions, incorporating a variety of musical styles.
Some of these songs had been showcased at live events just before the world went mad, taking the opening track, which is also the title track ‘Hear Me Now’ as an example. The opening guitar and beat immediately gets the juices flowing, a powerful bopper which has strains of early Johnny Burnette to the resonance, with Bob’s vocal delivery and Ray’s searing guitar break. Ray takes lead vocals on ‘I’m a Rocker’, which also features the saxophone and piano talents of guest musician John Dobinson. This is a nippy and pacy tune the lyrics of which leave you in no doubt the subject is indeed, a rocker.
A mid-tempo Rockabilly number next, with, dare I suggest, a tinge of country. There are songs in the band’s repertoire, that fans could say are definitive ‘Jets’ sounds and ‘Annie’ is one such fine example, with Bob’s upbeat vocal lilt, almost masking the slight sadness in the lyrics. I’m going out on a limb here and suggesting that ‘Much Too Good (For You)’ will fill dancefloors and the backing vocal hook, will stay in your brain forever. A stroll beat, with the catchiest of rhythms and vocal harmonies which are pitch perfect. An absolute gem.
Ramping up the pace again, ‘Call the Police’, which is a full on rocker with a thumping back beat from Tony and Bob in the rhythm engine-room, complementing two kicking guitar solos from Ray. Another change in style with ‘Dreamy Eyes’. From the opening notes, we immediately though of the Joe Meek style of production, a kind of space-age, early sixties sound using reverb on the vocals and instruments. Thoughts of the best Billy Fury and Johnny Leyton ballads spring to mind when you hear Ray’s vocals on this four-minute delight.
What about a blue bopper then? How about ‘It Is What It Is’ a growling and gritty guitar driven maraca-tastic floor shaker of a track. Double-dig it folks. That’s followed by another early sixties sounding track, ‘Girl of a Thousand Dreams’, some light respite from the intensity of the preceding track. A mainstay of the Jets’ live set over the years is next, the hugely popular ‘Jezebel’. Based on the biblical Queen Jezebel, wife of King Ahab, Wayne Shanklin’s 1951popular song was originally recorded by Frankie Laine with Mitch Miller’s Orchestra. Here the Jets retain the original rhythm, which has a kind of Paso Doble feel to the guitar work.
Back to the original songs again, and a shout-back rocker ‘Stand By For Action’ with ‘Love You A Little Bit More’ following on, a song about devotion including the inspired lyric ‘I’ll hold you closer than your shirt’. Says it all really. The brothers ‘do’ doo wop harmonies, and here’s a fine example in ‘Cry’, which is a sublime acca pella lament, delivered with considerable vocal accomplishment. If you love vocal harmony, you’ll fall head over heels for this number.
Before Covid closed everything down, a Jets live event featured ‘Little Doll’ as a taster for this CD (and on the previous release 40 Rockin Years). This is a joyous and bright sounding love song, and at just over two minutes long, the shortest on the CD. Just right for jivers methinks. Rounding things off ‘You Are My Temptation’ which has a Belmonts feel to the rhythm and delivery, and another fine example of the trio’s versatility.
There are things that, as the years go by, mature, and if anything, increase in quality. Such is the case with the Jets. The sound, the delivery both vocally and musically and the quality and diversity of the song writing, on this CD, ticks every box. If you’re a dyed in the wool fan of many years, or new to their sound, you’ll love this.
Available here Home | TheJets UK
Dean Barlow – repro 45rpm
There are tracks lately that have made repro records, that make us wonder why we’ve never heard them before. Here is one such example from 1955 on the Jay- Dee record label, featuring Dean Barlow, as in Dean Barlow and the Crickets.
It pairs together a stunning vocal doo wop ballad, ‘Forever’ written by Alan Freed and a bright and up-tempo R&B jive tune, ‘Don’t Leave Me Baby’ which Barlow wrote himself. Apparently Barlow’s decision to record solo wasn’t the best, commercially, but this brace of beauties make you wonder!
There are tracks lately that have made repro records, that make us wonder why we’ve never heard them before. Here is one such example from 1955 on the Jay- Dee record label, featuring Dean Barlow, as in Dean Barlow and the Crickets.
It pairs together a stunning vocal doo wop ballad, ‘Forever’ written by Alan Freed and a bright and up-tempo R&B jive tune, ‘Don’t Leave Me Baby’ which Barlow wrote himself. Apparently Barlow’s decision to record solo wasn’t the best, commercially, but this brace of beauties make you wonder!
Rampage Records back in stores
Scotland has a vibrant Rock n Roll scene and a bunch of fine performers, among which are Emma and the Ragmen. Here’s their release on Rampage Records, who are based in central Scotland, from 2016, and in typical fashion, it was limited to three hundred top quality pressings.
Emma Nelson takes the vocals and has a great voice, showcased well on the stroll beat of ‘In The Know’ backed up superbly by the Ragmen. On the other side, ‘Rag Top Roll’, an upbeat guitar driven, jive beat. A first class pairing.
Also back in stock at record dealers, the Buick 55’s, with the kick a*se rocker ‘Catch a Train’. Thumping Rockabilly bass rhythm on this track with lead singer Tracy ‘Rusty Riot’ Dewar belting out the vocals. Can’t beat a train song folks. That track is paired with the dance beat of ‘West Coast Jump’, with a super-cool guitar solo to complement Rusty’s vocals
Finally, the Tennessee Hotshots, a fine Scottish Rockabilly trio, performing ‘Rock n Roll Rampage’, Sy McBass’ kind of meeting of Haley’s shout-back vocal style, with classic ’56 Rockabilly. Turn the platter over and it’s ‘Ain’t Misbehavin’ not to be confused with any other track of that name, as this has a cool stroll vibe and driving bass beat.
What a year 2016 was for quality releases on Rampage. We do not know how many of these records are still available to buy, check with your stockists
Scotland has a vibrant Rock n Roll scene and a bunch of fine performers, among which are Emma and the Ragmen. Here’s their release on Rampage Records, who are based in central Scotland, from 2016, and in typical fashion, it was limited to three hundred top quality pressings.
Emma Nelson takes the vocals and has a great voice, showcased well on the stroll beat of ‘In The Know’ backed up superbly by the Ragmen. On the other side, ‘Rag Top Roll’, an upbeat guitar driven, jive beat. A first class pairing.
Also back in stock at record dealers, the Buick 55’s, with the kick a*se rocker ‘Catch a Train’. Thumping Rockabilly bass rhythm on this track with lead singer Tracy ‘Rusty Riot’ Dewar belting out the vocals. Can’t beat a train song folks. That track is paired with the dance beat of ‘West Coast Jump’, with a super-cool guitar solo to complement Rusty’s vocals
Finally, the Tennessee Hotshots, a fine Scottish Rockabilly trio, performing ‘Rock n Roll Rampage’, Sy McBass’ kind of meeting of Haley’s shout-back vocal style, with classic ’56 Rockabilly. Turn the platter over and it’s ‘Ain’t Misbehavin’ not to be confused with any other track of that name, as this has a cool stroll vibe and driving bass beat.
What a year 2016 was for quality releases on Rampage. We do not know how many of these records are still available to buy, check with your stockists
Gunter Lee Carr – reissue 45
Cecil Gant, known as Gunter Lee Carr, whose biggest hit was the 1944 ballad ‘I Wonder’, is the subject of this Fury Records reissue 45rpm pairing two aces together. ‘We’re Gonna Rock’ is a jazz/blues bounce, originally recorded by Wild Bill Moore in 1948. Carr’s version is a piano and guitar driven, mid-tempo jive track recorded on Decca.
On the flip, ‘Rock Little Baby’, another boogie sound, with lyrics that must’ve had the establishment throwing their hands up. His piano style is a clear influence on many future rock ‘n’ rollers.
Two fine examples of the genre, limited to 300 copies folks
Cecil Gant, known as Gunter Lee Carr, whose biggest hit was the 1944 ballad ‘I Wonder’, is the subject of this Fury Records reissue 45rpm pairing two aces together. ‘We’re Gonna Rock’ is a jazz/blues bounce, originally recorded by Wild Bill Moore in 1948. Carr’s version is a piano and guitar driven, mid-tempo jive track recorded on Decca.
On the flip, ‘Rock Little Baby’, another boogie sound, with lyrics that must’ve had the establishment throwing their hands up. His piano style is a clear influence on many future rock ‘n’ rollers.
Two fine examples of the genre, limited to 300 copies folks
Harold Shultters – repro 45rpm
For the most basic and dare we say, primitive form of Rockabilly, check out this monster double decker from Harold Shultters and the Rocats from 1956. Harold Shultters (1936 – ’98) also performed under the alias of Don Ellis.
These two Rockabilly kickers, ‘Rock and Roll Mister Moon’ and the flip, ‘Baby Fan the Flame’ were originally recorded on the Goldenrod label, from Scotsville, Kentucky, and were the first of three singles by this particular combo. Love it
For the most basic and dare we say, primitive form of Rockabilly, check out this monster double decker from Harold Shultters and the Rocats from 1956. Harold Shultters (1936 – ’98) also performed under the alias of Don Ellis.
These two Rockabilly kickers, ‘Rock and Roll Mister Moon’ and the flip, ‘Baby Fan the Flame’ were originally recorded on the Goldenrod label, from Scotsville, Kentucky, and were the first of three singles by this particular combo. Love it
Harry Lee – repro 45
Here’s a repro 45 from the Vin Record label, with two tracks written by Alton Lott (as in Alton and Jimmy) who also played guitar for Harry Lee, the vocalist here. Two top drawer rockers recorded in New Orleans in 1958 and released in ’59. ‘You Don’t Know’ rolls along wonderfully with a peach of a guitar break, while ‘Every Time I See You’, although not dissimilar to the flip, has some female harmony accompaniment, in a call-and-answer style, which is a delight.
This is a corker, readers
Here’s a repro 45 from the Vin Record label, with two tracks written by Alton Lott (as in Alton and Jimmy) who also played guitar for Harry Lee, the vocalist here. Two top drawer rockers recorded in New Orleans in 1958 and released in ’59. ‘You Don’t Know’ rolls along wonderfully with a peach of a guitar break, while ‘Every Time I See You’, although not dissimilar to the flip, has some female harmony accompaniment, in a call-and-answer style, which is a delight.
This is a corker, readers
Jimmy Crawford / Dickie Loader – reissue 45rpm
Here’s a cool double decker on the Blakey Record label, featuring on the one side, ‘Long Stringy Baby’ by Jimmy Crawford. Not to be confused with the American jazz drummer of the same name, Ronald James William Crawford Lindsey, achieved both chart and film notoriety in the early 60’s (check out the film Play It Cool from 1962). ‘Long Stringy Woman’ from 1960, is the typical early British Rock n Roll sound, heavy on the bass guitar, and puts us in mind of Cliff’s ’59 smash ‘Dynamite’. Cracking floor filler.
On the other side, South African born Dickie Loader, with his band The Blue Jeans, and a version of ‘Chills and Fever’ from their debut album of 1962. Many are familiar with the version of this song by the likes of Tom Jones and Ronnie Love, but this version stands shoulder to shoulder with those
Here’s a cool double decker on the Blakey Record label, featuring on the one side, ‘Long Stringy Baby’ by Jimmy Crawford. Not to be confused with the American jazz drummer of the same name, Ronald James William Crawford Lindsey, achieved both chart and film notoriety in the early 60’s (check out the film Play It Cool from 1962). ‘Long Stringy Woman’ from 1960, is the typical early British Rock n Roll sound, heavy on the bass guitar, and puts us in mind of Cliff’s ’59 smash ‘Dynamite’. Cracking floor filler.
On the other side, South African born Dickie Loader, with his band The Blue Jeans, and a version of ‘Chills and Fever’ from their debut album of 1962. Many are familiar with the version of this song by the likes of Tom Jones and Ronnie Love, but this version stands shoulder to shoulder with those
Mort Shuman – Reissue 45rpm
Mortimer ‘Mort’ Shuman (1938 – 1991) was a pianist and songwriter, responsible for co-writing some of the biggest Rock n Roll hits of the 1960’s (eg Viva Las Vegas) collaborating a lot with Doc Pomus. Indeed it’s that pairing that wrote both sides to Mort’s debut single on Decca Records from 1959. The intense and dramatic ‘Turn Me Loose’ is paired with the up-tempo jive rocker ‘I’m a Man’.
Interesting that Fabian cut both tunes for commercial success ‘Turn Me Loose’ charting at #9 ‘I’m a Man’ at #31 on the Billboard hot 100.
Mortimer ‘Mort’ Shuman (1938 – 1991) was a pianist and songwriter, responsible for co-writing some of the biggest Rock n Roll hits of the 1960’s (eg Viva Las Vegas) collaborating a lot with Doc Pomus. Indeed it’s that pairing that wrote both sides to Mort’s debut single on Decca Records from 1959. The intense and dramatic ‘Turn Me Loose’ is paired with the up-tempo jive rocker ‘I’m a Man’.
Interesting that Fabian cut both tunes for commercial success ‘Turn Me Loose’ charting at #9 ‘I’m a Man’ at #31 on the Billboard hot 100.
The Howlin’ Ramblers – 45rpm release
Spanish five piece the Howlin’ Ramblers have taken on one of the worlds biggest blues tracks originally by one of the world’s biggest blues artists, Howlin Wolf. ‘You’ll Be Mine’ was originally released on Chess Records in 1962, and the Howlin’ Ramblers deliver their version with all the vocal commitment you’d want, whilst retaining a respectfulness to the original.
On the flip, ‘No Teardrops Tonight’, a harmonica wailing, rip-roaring rocker with a thumping rhythm and foot stomping beat. A little different to the Hank Williams original.
Great stuff from Sleazy Records
Spanish five piece the Howlin’ Ramblers have taken on one of the worlds biggest blues tracks originally by one of the world’s biggest blues artists, Howlin Wolf. ‘You’ll Be Mine’ was originally released on Chess Records in 1962, and the Howlin’ Ramblers deliver their version with all the vocal commitment you’d want, whilst retaining a respectfulness to the original.
On the flip, ‘No Teardrops Tonight’, a harmonica wailing, rip-roaring rocker with a thumping rhythm and foot stomping beat. A little different to the Hank Williams original.
Great stuff from Sleazy Records
The Nightraiders feat. Mickey Hawkes– Rockabilly repro 45rpm
Mickey Hawkes, was one of those rockers who stayed true to his roots throughout a career where commercial success pretty much eluded him. Here with his band the Nightraiders, are two immense rockin’ tracks on the same 45rpm.
‘Cotton Pickin’ (originally a ‘B’ side from 1959) was written by Nightraiders’ guitarist Bill Ballard, and is a frantic and glorious instrumental at a few seconds over a minute and a half. Turn it over and it’s the equally desperate vocal sound of ‘Screamin’ Mimi Jeanie’ from 1960, brilliant from opening drum beats to the fading wail of the saxophone.
Mickey Hawkes, was one of those rockers who stayed true to his roots throughout a career where commercial success pretty much eluded him. Here with his band the Nightraiders, are two immense rockin’ tracks on the same 45rpm.
‘Cotton Pickin’ (originally a ‘B’ side from 1959) was written by Nightraiders’ guitarist Bill Ballard, and is a frantic and glorious instrumental at a few seconds over a minute and a half. Turn it over and it’s the equally desperate vocal sound of ‘Screamin’ Mimi Jeanie’ from 1960, brilliant from opening drum beats to the fading wail of the saxophone.
Tony Crombie – Reissue 45rpm
Anthony John Kronenberg (1925 – 99) was a piano player, bandleader, drummer and composer, and together with his band, the Rockets, released several singles on Decca and Columbia. Here are four such diamonds on one EP.
‘Red For Danger’ is one of those glorious British Rock n Roll sounds of the mid-fifties, already established as a dance floor classic. ‘Stop it, I Like it’ from ’57 has a Comets beat to it, along with an almost novelty vocal delivery, set to a top drawer rhythm. Similarly, ‘Forgive Me Baby’ is another fine example of the band’s dancefloor appeal, with it’s catchy rhythms. Finally ‘Rock n Roller Coaster’, another bass ticking rocker with a blaring sax break.
First class British sound on the Trater Record label
Anthony John Kronenberg (1925 – 99) was a piano player, bandleader, drummer and composer, and together with his band, the Rockets, released several singles on Decca and Columbia. Here are four such diamonds on one EP.
‘Red For Danger’ is one of those glorious British Rock n Roll sounds of the mid-fifties, already established as a dance floor classic. ‘Stop it, I Like it’ from ’57 has a Comets beat to it, along with an almost novelty vocal delivery, set to a top drawer rhythm. Similarly, ‘Forgive Me Baby’ is another fine example of the band’s dancefloor appeal, with it’s catchy rhythms. Finally ‘Rock n Roller Coaster’, another bass ticking rocker with a blaring sax break.
First class British sound on the Trater Record label
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Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites 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.
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Cheers 'til next month
Andrew and June
Next month. Our interview with Randy Richter, and plenty of other jolliness, keep checking back
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 interview with Randy Richter, and plenty of other jolliness, keep checking back
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
