the bettajive review magazine #25
Marcel Riesco at Hemsby
Hello everyone, we are back after an enforced break due to June's rehabilitation from hip surgery. Thank you everyone for your good wishes for her recovery which to date is going well. Our first trip out was to the 64th Hemsby Rock n Roll weekender, a full review of which you can read below. And guess what? We both got Covid-19, fortunately mildly, but it finally caught up with us after two years and three vaccinations. Oh well, as the Morgan Twins sang, 'Let's Get Going'
Help us keep our magazine free to read by popping a donation over to us using the button below please. Many thanks
Help us keep our magazine free to read by popping a donation over to us using the button below please. Many thanks
The Bettajive Review
Cover me. You can’t judge a book by the cover it was suggested by Bo Diddley in song and legend, and in numerous cases it is indeed true. Since however, we’ve been buying, acquiring and latterly, reviewing CDs and records, often the case is you can pick out exactly what the type of tunes contained therein, are going to sound like, or the theme of the material, just based on the artwork.
Let me elucidate further. If you were presented with a CD/LP, and the artwork on the cover consisted of a linen and wool clad, tousle haired waif, in fisherman rope sandals, holding a twelve-string acoustic guitar looking wistfully into the middle distance on a windswept hill, and said record was titled ‘I Prithee a Futtocksnark To Gird’ what would you expect? Would you consider that she would tear into ‘My Boy Elvis’ or ‘Go Get The Shotgun Grandma’? Doubtful.
Similarly, a bunch of kids with their hats on backwards, with fingers raised in peculiar gesticulate and ill-fitting clothing of various basketball teams, are unlikely to sound like Elvis are they? More like lyrics about doing unspeakable things to their ‘muthas’ and a repetitive annoying use of ‘Yo!’.
With that in mind, when we get 1950’s styled CD and vinyl releases from various quarters to review for the magazine you’re reading, it’s interesting sometimes to have a go at seeing if I can guess the content just by looking at the cover artwork. Here’s a brief guide to the commonest styles of artwork you may encounter on Rock n Roll releases, and of course, they bear absolutely resemblance to any releases past or present…..!
Let’s start with the three smiling guys in matching bi-coloured shirts with a bass, guitar and drums in a pyramid shape on the cover. This sometimes means that the track listing is probably going to be cover tunes from the well-trodden path of Rock n Roll. You’re ‘Honey Don’t’, ‘Matchbox’ and ‘Please Mama Please’. Three guys from Europe on the next one, with every visible body part tattooed, pictured in very dark colours standing outside a diner in the rain while wearing sunglasses. The title is in italicised metallic font so it looks like knives. This probably features twelve tracks, nine of which are written by someone with no vowels in their name, and sound like the guitarist is trying to set a record for playing the one chord throughout, as loudly and fast as possible. The drummer smashes the single snare he has mercilessly during each track, that makes the listener reach for the tin hat, and indeed, ear plugs.
Sometimes the cover features just cartoon artwork, a skeleton wearing leathers, on a chopper style motorbike, holding a severed head, doing a wheelie with clouds of smoke belching out of the exhaust pipes. Nine times out of ten, the content is punk, but with a double bass!
How about the three guys clad in long dark jackets, thumbs in belt loops, all looking contemptuously downward into the camera (in a grave perhaps) captured in monochrome? Probably a Ted band with great covers of British Rock n Roll tunes and the odd ‘Teds are Great’ track, and songs about flick knives, and brown ale. Four non-smiling forty-somethings looking hard in jeans and boots, shiny slicked hair, filmed in sepia in front of a graffiti strewn wall and litter all over the floor. This is probably a group that do some Rockabilly, but include Surf, Indie and Garage too.
Three or four sickeningly handsome guys, so cool they sweat Perrier water (other sugar and calorie free, carbonated bottled waters, are available), in to-die-for original gabardine shirts and pegs, and not so much as a hair out of place, holding lead and rhythm guitars, bass and a snare drum. Authentic Rockabilly with a stripped down, bona fide genuinely simple but effective sound. Damn them!:-). Next in the pile, what’s this? Four guys in exquisite Western shirts, pants, cowboy hats and Maverick ties, plus one female adorned in a tasselly western shirt, short skirt and legs from here to next Tuesday, holding a fiddle and bow. Expect a super-steely-slidey Western Swing sound perhaps, with her on the fiddle…so to speak. Hack ppp-ting! Spitoon-tastic.
What do have we here? Half a dozen participants on this record cover, in sparkly jackets, in various poses at jaunty angles, and equally jaunty, pseudo-amazed expressions, with instruments placed strategically, and for that matter, wrongly, around. A fun show band that does a lot of Bill Haley and Jive stuff, that always seem better live, than on recordings.
Another sleeve with six or more participants, looking sharp in suits, or maybe zoot suits, ties and fedora hats or boaters, and two tone shoes photographed in slightly shadow focus. That would suggest a honking good swing set from a bouncing good swing-jive band. Louis Prima or Big Joe maybe. Add to that line up, a ball-gown clad, raven-haired, red-lipsticked beauty, wearing elbow length gloves and lots of sparkly jewellery, and you’ve got a Ruth/LaVern/Wynona melting pot of a CD on your hands. If you have the gabardine guys detailed above, fronted by a Rockabilly girl, that’s usually shown as her in full view, with the four lads leaning round a wall and one wolf whistling. Probably it would have a title like ‘Wit-Woo’ and contain some ace sounding stuff in the style of Janis/Wanda/Rose Maddox/Sparkle Moore. Sometimes you get the single female artist with a cartoon wolf, eyes popping out his head
Sometimes you get a sole artist on their own album, in mid-strum of an acoustic guitar. I often wonder about the pained expression on their face, and what might have caused it, could it be someone put a thumbtack on the seat of the chair on which they are sitting?
Just a few examples, readers, proving that we just had too much time to kill over lockdown!
Cover me. You can’t judge a book by the cover it was suggested by Bo Diddley in song and legend, and in numerous cases it is indeed true. Since however, we’ve been buying, acquiring and latterly, reviewing CDs and records, often the case is you can pick out exactly what the type of tunes contained therein, are going to sound like, or the theme of the material, just based on the artwork.
Let me elucidate further. If you were presented with a CD/LP, and the artwork on the cover consisted of a linen and wool clad, tousle haired waif, in fisherman rope sandals, holding a twelve-string acoustic guitar looking wistfully into the middle distance on a windswept hill, and said record was titled ‘I Prithee a Futtocksnark To Gird’ what would you expect? Would you consider that she would tear into ‘My Boy Elvis’ or ‘Go Get The Shotgun Grandma’? Doubtful.
Similarly, a bunch of kids with their hats on backwards, with fingers raised in peculiar gesticulate and ill-fitting clothing of various basketball teams, are unlikely to sound like Elvis are they? More like lyrics about doing unspeakable things to their ‘muthas’ and a repetitive annoying use of ‘Yo!’.
With that in mind, when we get 1950’s styled CD and vinyl releases from various quarters to review for the magazine you’re reading, it’s interesting sometimes to have a go at seeing if I can guess the content just by looking at the cover artwork. Here’s a brief guide to the commonest styles of artwork you may encounter on Rock n Roll releases, and of course, they bear absolutely resemblance to any releases past or present…..!
Let’s start with the three smiling guys in matching bi-coloured shirts with a bass, guitar and drums in a pyramid shape on the cover. This sometimes means that the track listing is probably going to be cover tunes from the well-trodden path of Rock n Roll. You’re ‘Honey Don’t’, ‘Matchbox’ and ‘Please Mama Please’. Three guys from Europe on the next one, with every visible body part tattooed, pictured in very dark colours standing outside a diner in the rain while wearing sunglasses. The title is in italicised metallic font so it looks like knives. This probably features twelve tracks, nine of which are written by someone with no vowels in their name, and sound like the guitarist is trying to set a record for playing the one chord throughout, as loudly and fast as possible. The drummer smashes the single snare he has mercilessly during each track, that makes the listener reach for the tin hat, and indeed, ear plugs.
Sometimes the cover features just cartoon artwork, a skeleton wearing leathers, on a chopper style motorbike, holding a severed head, doing a wheelie with clouds of smoke belching out of the exhaust pipes. Nine times out of ten, the content is punk, but with a double bass!
How about the three guys clad in long dark jackets, thumbs in belt loops, all looking contemptuously downward into the camera (in a grave perhaps) captured in monochrome? Probably a Ted band with great covers of British Rock n Roll tunes and the odd ‘Teds are Great’ track, and songs about flick knives, and brown ale. Four non-smiling forty-somethings looking hard in jeans and boots, shiny slicked hair, filmed in sepia in front of a graffiti strewn wall and litter all over the floor. This is probably a group that do some Rockabilly, but include Surf, Indie and Garage too.
Three or four sickeningly handsome guys, so cool they sweat Perrier water (other sugar and calorie free, carbonated bottled waters, are available), in to-die-for original gabardine shirts and pegs, and not so much as a hair out of place, holding lead and rhythm guitars, bass and a snare drum. Authentic Rockabilly with a stripped down, bona fide genuinely simple but effective sound. Damn them!:-). Next in the pile, what’s this? Four guys in exquisite Western shirts, pants, cowboy hats and Maverick ties, plus one female adorned in a tasselly western shirt, short skirt and legs from here to next Tuesday, holding a fiddle and bow. Expect a super-steely-slidey Western Swing sound perhaps, with her on the fiddle…so to speak. Hack ppp-ting! Spitoon-tastic.
What do have we here? Half a dozen participants on this record cover, in sparkly jackets, in various poses at jaunty angles, and equally jaunty, pseudo-amazed expressions, with instruments placed strategically, and for that matter, wrongly, around. A fun show band that does a lot of Bill Haley and Jive stuff, that always seem better live, than on recordings.
Another sleeve with six or more participants, looking sharp in suits, or maybe zoot suits, ties and fedora hats or boaters, and two tone shoes photographed in slightly shadow focus. That would suggest a honking good swing set from a bouncing good swing-jive band. Louis Prima or Big Joe maybe. Add to that line up, a ball-gown clad, raven-haired, red-lipsticked beauty, wearing elbow length gloves and lots of sparkly jewellery, and you’ve got a Ruth/LaVern/Wynona melting pot of a CD on your hands. If you have the gabardine guys detailed above, fronted by a Rockabilly girl, that’s usually shown as her in full view, with the four lads leaning round a wall and one wolf whistling. Probably it would have a title like ‘Wit-Woo’ and contain some ace sounding stuff in the style of Janis/Wanda/Rose Maddox/Sparkle Moore. Sometimes you get the single female artist with a cartoon wolf, eyes popping out his head
Sometimes you get a sole artist on their own album, in mid-strum of an acoustic guitar. I often wonder about the pained expression on their face, and what might have caused it, could it be someone put a thumbtack on the seat of the chair on which they are sitting?
Just a few examples, readers, proving that we just had too much time to kill over lockdown!
|
|
|
Dot….dot Best tracks in the world ever ever to put the sizzle in your sausage for this month are Lattie Moore’s ‘Why Did You Lie To Me’, BB King’s ‘Bim Bam’ (don’t expect a version of the jiver we all know) and Carl Smith’s ‘Go Boy Go’….Sad to read about the passing of Glen Glenn, as we say in the 45rpm review below, who knows what would have happened to his music career, had Uncle Sam not called him……It finally got us, Covid visited the Bettajive Review office, after us two years of dodging it. Fortunately it was mild…….Do any of you at gigs find yourselves morphing into Kelsey Grammer’s ‘Frazier’? It always happens when a band say they’re going to cover a Scotty Baker song for example, and I’m like ‘Well, I wonder what this will be’ Frazier style, knowing full well it’ll be ‘Pop The Question’………..
The return of the Hayride (click for details)
|
Hot Rock n Boogie is back (click flyer for details)
|
hemsby 64
The mighty Rusti Steel
Hemsby 64
The last weekender we were able to attend, was Hemsby, in November 2021, and the first back? Well, what do you know, it’s Hemsby in March ‘22. No massive queue out in the cold this time, thanks to a smooth and efficient reception system. As the wind whipped off the sea and the rain swept stingingly sideways into our faces, as we battled up to our flat above the laundrette, heaving hernia inducing luggage up in the process. It doesn’t get any easier, however many times you do it……..
Everything starts on Friday, you arrive, check in, get the wristbands, find your digs and get yourselves ready for three nights (and two days) of heavenly Rock n Roll. The Friday evening got under way with the first of a number of appearances by Rusti Steel, and component parts of the Star Tones. The first show was the complete line up of Rusti on guitar and stringed ironing board, Andy Meadows on drums, bassist Stewart Dale and Lloyd Mills on rhythm/lead guitar. This was one of those sets that had everything you could possibly want from a rockin’ show. Starting with Glenn Honeycutt’s ‘All Night Rock’, Rusti’s vocal inflections are set just right against the Star Tone backing, which continued through Thumper Jones’ ‘How Come It’.
A belting version of Charlie Rich’s ‘Rebound’ had the crowd rowdily cheering, while a change of pace to the stroll beat of ‘Prisoner of Your Charms’ and ‘Rachael Lou’ which is an adjusted version of ‘Linda Lu’ to include Rusti’s wife’s name. Lloyd took up the twin neck guitar while Rusti broke out the steel guitar. Loved ‘Traffic Jam’, (we’ve adopted ‘Quit honkin’ that horn’) ‘Real Rock Drive’ and ‘Catty Town’, and of course the well-deserved encore of ‘Gone Wit’ Wind’. We’ve lost count of the number of times we’ve watched and enjoyed Rusti Steel in whatever guise, but each time, the show rocks 100%. This one was a peach.
The last weekender we were able to attend, was Hemsby, in November 2021, and the first back? Well, what do you know, it’s Hemsby in March ‘22. No massive queue out in the cold this time, thanks to a smooth and efficient reception system. As the wind whipped off the sea and the rain swept stingingly sideways into our faces, as we battled up to our flat above the laundrette, heaving hernia inducing luggage up in the process. It doesn’t get any easier, however many times you do it……..
Everything starts on Friday, you arrive, check in, get the wristbands, find your digs and get yourselves ready for three nights (and two days) of heavenly Rock n Roll. The Friday evening got under way with the first of a number of appearances by Rusti Steel, and component parts of the Star Tones. The first show was the complete line up of Rusti on guitar and stringed ironing board, Andy Meadows on drums, bassist Stewart Dale and Lloyd Mills on rhythm/lead guitar. This was one of those sets that had everything you could possibly want from a rockin’ show. Starting with Glenn Honeycutt’s ‘All Night Rock’, Rusti’s vocal inflections are set just right against the Star Tone backing, which continued through Thumper Jones’ ‘How Come It’.
A belting version of Charlie Rich’s ‘Rebound’ had the crowd rowdily cheering, while a change of pace to the stroll beat of ‘Prisoner of Your Charms’ and ‘Rachael Lou’ which is an adjusted version of ‘Linda Lu’ to include Rusti’s wife’s name. Lloyd took up the twin neck guitar while Rusti broke out the steel guitar. Loved ‘Traffic Jam’, (we’ve adopted ‘Quit honkin’ that horn’) ‘Real Rock Drive’ and ‘Catty Town’, and of course the well-deserved encore of ‘Gone Wit’ Wind’. We’ve lost count of the number of times we’ve watched and enjoyed Rusti Steel in whatever guise, but each time, the show rocks 100%. This one was a peach.
The return of Gene Gambler
Next up, the welcome return of Gene Gambler and the Shufflers, from a few years break. This band apparently, have played Hemsby more times than any other band, and they took the stage by storm with their tight sounding Rockabilly. They mixed up flavours with originals from their two album releases ‘A Joker and Three Aces’ (2003) and ‘Aces High’ from 2014.
They opened with the Big O’s ‘You’re My Baby’, which was just spot on, with David (Gene) Williams strumming the bejesus out of his acoustic guitar and jumping around, against lead guitarist Rob Nedin’s more sedate and measured approach. Dispatch style mentions to Tony Biggs and Mark Kemlo on upright bass and drums respectively, keeping it real in the rhythm section. The covers were a delight and spot on. Buddy’s ‘Tell Me How’, Charlie Feathers stroller from ’57 ‘Too Much Alike’ and Ben Hewitt’s ‘For Quite a While’, which was sublime.
Their own material, has a very similar feel to the examples of the covers above, the likes of ‘Crazy Over You’ (not the Calvanes song), ‘Like a Bomb’ and ‘Heart of Black’. The exceptionally well received set concluded with a real tear-up of GeneVincent’s ‘Hold Me, Hug Me, Rock Me’ and Charlie Feathers’ ‘Stutterin’ Cindy’. Cracking stuff.
Gallery images, click on them for full size pics
They opened with the Big O’s ‘You’re My Baby’, which was just spot on, with David (Gene) Williams strumming the bejesus out of his acoustic guitar and jumping around, against lead guitarist Rob Nedin’s more sedate and measured approach. Dispatch style mentions to Tony Biggs and Mark Kemlo on upright bass and drums respectively, keeping it real in the rhythm section. The covers were a delight and spot on. Buddy’s ‘Tell Me How’, Charlie Feathers stroller from ’57 ‘Too Much Alike’ and Ben Hewitt’s ‘For Quite a While’, which was sublime.
Their own material, has a very similar feel to the examples of the covers above, the likes of ‘Crazy Over You’ (not the Calvanes song), ‘Like a Bomb’ and ‘Heart of Black’. The exceptionally well received set concluded with a real tear-up of GeneVincent’s ‘Hold Me, Hug Me, Rock Me’ and Charlie Feathers’ ‘Stutterin’ Cindy’. Cracking stuff.
Gallery images, click on them for full size pics
Dylan Kirk
Closing out Friday, the intense sounds of piano maestro, Dylan Kirk and the Killers, featuring the talents of Marco DiMaggio on lead guitar. This was a breathless and frantic set, that was visual, as it was musical. There were shuffles, surf sounds, desperate Rock n Roll and dare I suggest, soulful rock.
The spicy variety in the songs is apparent in these few titles, taking ‘You Made a Hit’, ‘I Dig You Baby’ ‘I Want Some More’ and ‘Put Your Cat Clothes On’. For me it was the butt kicking version of Little Victor’s ‘Papa Lou and Gran’ a tip top take on the Lafayette R&B shouter’s piano pumping rocker. It’s in the style of Little Richard, delivered with vocal gusto, and foot stomping precision. Good to also hear his own compositions, along with the high octane ‘Monkey Beat City’ (Ronnie Dawson) and ‘Dream Catcher’ later in the set too. The show became interactive as it was taken into the audience, with the crowd in rapturous delight. Top end to a trio of ace acts on Friday.
Gallery images below
The spicy variety in the songs is apparent in these few titles, taking ‘You Made a Hit’, ‘I Dig You Baby’ ‘I Want Some More’ and ‘Put Your Cat Clothes On’. For me it was the butt kicking version of Little Victor’s ‘Papa Lou and Gran’ a tip top take on the Lafayette R&B shouter’s piano pumping rocker. It’s in the style of Little Richard, delivered with vocal gusto, and foot stomping precision. Good to also hear his own compositions, along with the high octane ‘Monkey Beat City’ (Ronnie Dawson) and ‘Dream Catcher’ later in the set too. The show became interactive as it was taken into the audience, with the crowd in rapturous delight. Top end to a trio of ace acts on Friday.
Gallery images below
The Rhythm Slicks
Saturday’s entertainment began with a real treat with the Rhythm Slicks from Wales. This four-piece, once again benefits from the pulsating rhythms and timbres provided by Mark Kemlo on Drums and Tony Biggs, slapping the upright bass. Add into the mix, lead guitar maestro Nick Jones, and lead singer and rhythm guitarist Kevin Burnett, and this is the combo that blasted out ‘Tear it Up’ as their opener.
With the classic line up of instruments as played by the ‘Slicks, you might think that it would all be straight ahead Rockabilly, but there’s a nuanced sound and selection of tracks they performed. Take the Hollywood Flames ‘Buzz Buzz Buzz’ as an example, sure no brass section but a great balance to the rip-roaring beat of the preceding track ‘Wolf in Sheep’s Clothing’, one of the band’s original compositions.
They also took on another classic, this time Little Richard’s ‘True Fine Mama’ in epic style. The variety continued, with Big Joe’s ‘Chicken and Hawk’ and Mickey Lee Lane’s ‘Senior Class’ rubbing shoulders with their own classy tunes ‘Howlin’ and ‘Black Whiskey and Gasoline’. Great start to Saturday.
Gallery images, click on them for full size images
With the classic line up of instruments as played by the ‘Slicks, you might think that it would all be straight ahead Rockabilly, but there’s a nuanced sound and selection of tracks they performed. Take the Hollywood Flames ‘Buzz Buzz Buzz’ as an example, sure no brass section but a great balance to the rip-roaring beat of the preceding track ‘Wolf in Sheep’s Clothing’, one of the band’s original compositions.
They also took on another classic, this time Little Richard’s ‘True Fine Mama’ in epic style. The variety continued, with Big Joe’s ‘Chicken and Hawk’ and Mickey Lee Lane’s ‘Senior Class’ rubbing shoulders with their own classy tunes ‘Howlin’ and ‘Black Whiskey and Gasoline’. Great start to Saturday.
Gallery images, click on them for full size images
The Deadshots
Next up, a band that have been going a while, but (covid delays notwithstanding) somehow, we’ve not caught up with. The Deadshots are Jim Jenkinson on upright bass, supercharged drummer Jack Smith, lead guitarist and songwriter Billy Jenkins and lead singer & rhythm guitarist, Matt Waterhouse.
I’m pretty sure that the entire set was of original material, which is a class move from the lads. Their delivery was loud and proud, loads of onstage enthusiasm as they rattled through their playlist. Should we pick out highlights? Well, ‘Kings of Sleaze’ made us wonder if that was a hat tip to JRS of old, certainly it had that musical feel to it, and reading the lads biographies, it’s apparent that band were one of their influences. ‘It’s All Over Now’, which incidentally was the flip to their release on Killertone Records, also featured.
A tight sound and super cool guitar riffs are prominent throughout, and standouts among standouts include (for us) were ‘Shot Dead’, ‘Cry Over You’ and ‘Devil in High Heels’. Smashing 21st Century Rockabilly from a band on fine form, folks.
Gallery images, click on them for full sized photo
I’m pretty sure that the entire set was of original material, which is a class move from the lads. Their delivery was loud and proud, loads of onstage enthusiasm as they rattled through their playlist. Should we pick out highlights? Well, ‘Kings of Sleaze’ made us wonder if that was a hat tip to JRS of old, certainly it had that musical feel to it, and reading the lads biographies, it’s apparent that band were one of their influences. ‘It’s All Over Now’, which incidentally was the flip to their release on Killertone Records, also featured.
A tight sound and super cool guitar riffs are prominent throughout, and standouts among standouts include (for us) were ‘Shot Dead’, ‘Cry Over You’ and ‘Devil in High Heels’. Smashing 21st Century Rockabilly from a band on fine form, folks.
Gallery images, click on them for full sized photo
Frankie rocks out
The afternoon gave way to the early evening and the first act, the excellent Honkabillies. Frankie Riedel, is the charismatic frontman on rhythm guitar and vocals, backed by Sam French on upright bass, Frankie Junior picking the six strings on lead guitar, with drummer Claire Gipps. We’ve been watching this band since they were Dogonne, and back then the sound was slightly different. Some of those tunes remain, along with kickin rockers, some we might suggest, the result of being stuck at home through Covid lockdowns.
The band are now with Wild Records, and it was one of those recordings that opened the show, the powerhouse rocker ‘Bye Bye Baby’, along with another in a similar vein ‘I Still Carry On’. ‘Your Love’s on Fire’ and ‘Drinkin’, Runnin’ Hidin’, are also fiery rockers, indicative of the raw and earthy sound that the band have adopted. Oh, we simply must mention the Covid related ‘Lockdown’ song. And all the sounds suit them.
Although, there are tunes that hark back to, well, the previous decade I guess, that the band still showcase. Hank Williams’ ‘Mind Your Own Business’, Johnny Cash’s ‘Big River’ and the traditional barn burner of ‘Freight Train Boogie’, a staple Honkabillies closer. Ace combo that never disappoint.
Click on the images for full sized pic
The band are now with Wild Records, and it was one of those recordings that opened the show, the powerhouse rocker ‘Bye Bye Baby’, along with another in a similar vein ‘I Still Carry On’. ‘Your Love’s on Fire’ and ‘Drinkin’, Runnin’ Hidin’, are also fiery rockers, indicative of the raw and earthy sound that the band have adopted. Oh, we simply must mention the Covid related ‘Lockdown’ song. And all the sounds suit them.
Although, there are tunes that hark back to, well, the previous decade I guess, that the band still showcase. Hank Williams’ ‘Mind Your Own Business’, Johnny Cash’s ‘Big River’ and the traditional barn burner of ‘Freight Train Boogie’, a staple Honkabillies closer. Ace combo that never disappoint.
Click on the images for full sized pic
Smokestack Lightning
The first of two European bands were up next, from Germany, Smokestack Lightning, bringing their own brand of Rock n Roll to the Hemsby stage. Clearly a crowd favourite, they opened with one of their best-known tunes ‘Girl on the Billboard’. How many of you readers of our vintage recall the lightweight twaddle TV series, ‘The Fall Guy’ from the 1980’s? Memorable for not much else than Lee Majors, Heather Thomas and the theme tune, ‘The Unknown Stuntman’. Smokestack Lightning perform this track rather well, and despite my rather tepid review of the TV show, I knew all the blimmin’ words!
This band are the type that aren’t the most demonstrative on stage, but they have that knack of playing their instruments, almost effortlessly. ‘Solitary Man’, ‘Leaving Louisiana in the Broad Daylight’ and ‘If I Really Bug You’ delighted the crowd, which demanded two encores, and probably they could have played on, had time allowed.
Click on the images in the gallery for full sized pic
This band are the type that aren’t the most demonstrative on stage, but they have that knack of playing their instruments, almost effortlessly. ‘Solitary Man’, ‘Leaving Louisiana in the Broad Daylight’ and ‘If I Really Bug You’ delighted the crowd, which demanded two encores, and probably they could have played on, had time allowed.
Click on the images in the gallery for full sized pic
Barny and the Rhythm Allstars
The Saturday night ended with a real blast, with Wild Records artists, Barny and the Rhythm All Stars from France. Barny Da Silva continues to carry the torch originally ignited by Carl and the Rhythm All Stars, since Carl’s untimely passing nearly seven years ago. There are natural parallels drawn by many between Barny and his dad, however Barny has an energetically exuberant style of his own, which has contributed to the band’s current sound.
Looking sharp in his orange jacket and black pegs, Barny exploded onto the stage following a brief guitar solo from Claude Placet. If you’ve ever heard the band play, you’ll be familiar with the straight-ahead and no-nonsense style, the forthright vocal delivery and driving guitar riffs. ‘Oh Mama’ is a fine example, as is the controlled passion of ‘Crazy About You’. ‘Drunk, Lonely Man’ is a real kicker, and covers of ‘Stutterin’ Cindy’, ‘Got the Bull By The Horns’ and ‘Young and Wild’ were properly in the groove. ‘I Got To The River’ ended the set with a classic bop vibe before ‘Slipped My Mouth’ ended a memorable set. And in case you’re wondering, no guitars were harmed during this performance…..
Looking sharp in his orange jacket and black pegs, Barny exploded onto the stage following a brief guitar solo from Claude Placet. If you’ve ever heard the band play, you’ll be familiar with the straight-ahead and no-nonsense style, the forthright vocal delivery and driving guitar riffs. ‘Oh Mama’ is a fine example, as is the controlled passion of ‘Crazy About You’. ‘Drunk, Lonely Man’ is a real kicker, and covers of ‘Stutterin’ Cindy’, ‘Got the Bull By The Horns’ and ‘Young and Wild’ were properly in the groove. ‘I Got To The River’ ended the set with a classic bop vibe before ‘Slipped My Mouth’ ended a memorable set. And in case you’re wondering, no guitars were harmed during this performance…..
Hemsby dot…dot. Best tracks at Hemsby ever ever to bubble up your hot tub for this event were Big Jay McNeely’s ‘Funky Bug’, The Intruders’ ‘Rock-a-ma-Role’ and Elmore James’ ‘Cry For Me Baby’……Apologies to Relentless, that performed twice at Hemsby, and we missed both times. The first, we weren’t there, and the second we misread the program. Our bad…..’Sunset Blues’ by Tony and Jackie Lamie (with the Swing Kings), one of those tracks that everyone joins in with. Something else to hear a room echo to choral ‘Hey Ho Baby’ mid-song………DJs for the weekend, kept the floor moving, so a quick role call for Sharky, Robbie Knight, Simon Tugwell, Bill, Jimmy and George Guntrip. Ian Strop and Tojo both played tunes that contributed to the ‘best tracks’ feature, above. Top stuff……Kudos by the bucketload for Rusti Steel, whose musicianship and versatility over the weekend was exceptional………
Like what you see so far? How about popping a donation over to us to help keep this site free to read, by using the button below. Many thanks
Like what you see so far? How about popping a donation over to us to help keep this site free to read, by using the button below. Many thanks
John Lewis in the Hank Williams Tribute
One of the turns that had been carried over from the ‘lost weekends’ of a couple of years ago, was the Hank Williams tribute show, featuring John Lewis on guitar and vocals, Stewart Dale on upright bass and Rusti Steel sliding the steel and vocals. This whole set was an absolute peach, musically and vocally, performed by three artists who paid due reverence to the Hillbilly Shakespeare.
Rusti styled out a false start, suggesting it was a rarely heard outtake from 1948, where the steel guitar player got shouted at. So many classic songs came in procession ‘Honky Tonkin’, ‘Your Cheatin’ Heart’, ‘Hey Good Lookin’, ‘My Bucket’s Got a Hole In It’, ‘Settin’ the Woods on Fire’, ‘Mind Your Own Business’ and ‘Move It On Over’ to name just a few.
The set was arranged so sad songs, of which there were a number in Hank’s catalogue, were presented with appropriate veneration, and then offset by the more uplifting songs. The sound between the three instruments was first class, sounding really authentic. Personally ‘Kaw Liga’ stood out as a first among equals (it’s a personal favourite) and the rousing gospel encore of ‘I Saw the Light’ topped everything off superbly. An excellent and well-conceived show, performed expertly.
Gallery pics below
Rusti styled out a false start, suggesting it was a rarely heard outtake from 1948, where the steel guitar player got shouted at. So many classic songs came in procession ‘Honky Tonkin’, ‘Your Cheatin’ Heart’, ‘Hey Good Lookin’, ‘My Bucket’s Got a Hole In It’, ‘Settin’ the Woods on Fire’, ‘Mind Your Own Business’ and ‘Move It On Over’ to name just a few.
The set was arranged so sad songs, of which there were a number in Hank’s catalogue, were presented with appropriate veneration, and then offset by the more uplifting songs. The sound between the three instruments was first class, sounding really authentic. Personally ‘Kaw Liga’ stood out as a first among equals (it’s a personal favourite) and the rousing gospel encore of ‘I Saw the Light’ topped everything off superbly. An excellent and well-conceived show, performed expertly.
Gallery pics below
Nick Whitfield of the Drugstore Cowboys
A real rev-up next with the Drugstore Cowboys. This incarnation had Nick Whitfield on lead guitar and vocals, DC Amero on drums and standing for Sy McBass, Sam French on upright bass. This trio powered through a set of material you just don’t hear that much, played by bands, taking ‘Tore Up From The Floor Up’ as an immediate attention grabber.
Tony Joe White’s ‘Saturday Night in Oak Grave Louisiana’ has been a staple ‘Cowboys track for a while now and justifiably so, with the vocals following note for note on the guitar.
Loved the tribute to James G. Creighton from the lads, playing two Shakin’ Pyramids corkers, ‘Take a Trip’ and ‘Muskrat’ (as in the Everly Brothers). The set list zigged and zagged between decades, as the band took on ‘20th Century Boy’ (70’s), ‘Bank Robber’(80’s) and Elvis’ ‘Guitar Man’ (60’s), with consummate ease. Hugely varied and well received show.
Gallery images, click on them for full pics
Tony Joe White’s ‘Saturday Night in Oak Grave Louisiana’ has been a staple ‘Cowboys track for a while now and justifiably so, with the vocals following note for note on the guitar.
Loved the tribute to James G. Creighton from the lads, playing two Shakin’ Pyramids corkers, ‘Take a Trip’ and ‘Muskrat’ (as in the Everly Brothers). The set list zigged and zagged between decades, as the band took on ‘20th Century Boy’ (70’s), ‘Bank Robber’(80’s) and Elvis’ ‘Guitar Man’ (60’s), with consummate ease. Hugely varied and well received show.
Gallery images, click on them for full pics
The Hayriders
So, to the final evening of live entertainment, with the Hayriders setting the pace early doors. Since the line-up of this four-piece has settled with bassist Pat Reyford, drummer Ricky McCann, vocalist and rhythm guitarist Neil Wright, and the force of nature that is Darren Lince on lead guitar. This set was straight ahead classic Rockabilly, the kind of music that most people our ages will cite as their introduction to the genre. A bit of Gene to start with? Why not? ‘Who Slapped John’, the frantic rocker opened the show, (in ‘A’ 😊) with Wayne Walker’s ‘All I Can Do is Cry’ and Ricky Nelson’s ‘My One Desire’ delighting the crowd.
So much to appreciate in this show readers, kick a*se rockers ‘I’m Gonna Tell’, Carl Perkins ‘Tennessee’, Tommy Lam’s ‘Speed Limit’, Slim Rhodes classic kicker ‘Do What I Do’ and Pat Cupp’s ‘I Guess It’s Meant That Way’. There was time for a bit of light and shade amongst the rock-outs, with an exquisite take on Gene’s ‘I Sure Miss You’, with a top drawer take on the mandolin styled Cliff Gallup guitar solo from Darren Lince. The crowd rowdily cheered it all right up to the ballsy ‘Big Hunk o’ Love’ that ended the show. That’s how it’s done folks.
Gallery images below, click on the for full sized pic
So much to appreciate in this show readers, kick a*se rockers ‘I’m Gonna Tell’, Carl Perkins ‘Tennessee’, Tommy Lam’s ‘Speed Limit’, Slim Rhodes classic kicker ‘Do What I Do’ and Pat Cupp’s ‘I Guess It’s Meant That Way’. There was time for a bit of light and shade amongst the rock-outs, with an exquisite take on Gene’s ‘I Sure Miss You’, with a top drawer take on the mandolin styled Cliff Gallup guitar solo from Darren Lince. The crowd rowdily cheered it all right up to the ballsy ‘Big Hunk o’ Love’ that ended the show. That’s how it’s done folks.
Gallery images below, click on the for full sized pic
Marcel Riesco
More years ago, than we all probably care to recall, Hemsby introduced us all to the Truly Lover Trio, and it’s charismatic young-fella-me-lad front man, Marcel Riesco. Here he was making a welcome return to the Hemsby stage, bringing his bright, engaging and humorous style of delivery and performance. Backing him, the ubiquitous Rusti Steel, drummer Andy Meadows and bassist Stewart Dale. What a super sound they made too.
Marcel’s voice has been compared to Roy Orbsion’s, so you kind of get that vibe with each number, even if they are not the Big O’s songs. Redd Stewart’s ‘Yes I’ve Come Back’ for example, perfectly pitched, Johnny Horton’s ‘Honky Tonk Hardwood Floor’ rocked, Ronnie Smith’s ‘Long Time No Love’ and George Jones’ ‘White Lightning’ super.
His own tunes, like ‘Paper Heart’, musically and vocally sounds just like Big O circa 1960, just such a smooth sounding song. Similarly, the stunningly gorgeous ‘I’ve Been Draggin Since You’re Gone’, and the bill topping ‘Because He Broke Your Heart’ with ace vocal backing from the Star Tones. And for completeness’s sake, of course there were Roy Orbison covers, with ‘You’re My Baby’ and ‘Down The Line’, the perfect one-two punch. Great to Marcel on top form after an extended break, readers.
Marcel’s voice has been compared to Roy Orbsion’s, so you kind of get that vibe with each number, even if they are not the Big O’s songs. Redd Stewart’s ‘Yes I’ve Come Back’ for example, perfectly pitched, Johnny Horton’s ‘Honky Tonk Hardwood Floor’ rocked, Ronnie Smith’s ‘Long Time No Love’ and George Jones’ ‘White Lightning’ super.
His own tunes, like ‘Paper Heart’, musically and vocally sounds just like Big O circa 1960, just such a smooth sounding song. Similarly, the stunningly gorgeous ‘I’ve Been Draggin Since You’re Gone’, and the bill topping ‘Because He Broke Your Heart’ with ace vocal backing from the Star Tones. And for completeness’s sake, of course there were Roy Orbison covers, with ‘You’re My Baby’ and ‘Down The Line’, the perfect one-two punch. Great to Marcel on top form after an extended break, readers.
Go Getter Peter Sandberg
Finally, to send everyone home with the weekender ringing in their ears, the Go Getters. Now it’s Peter Sandberg, as the sole Swedish Go Getter, crashing the cans on the stand-up drum kit and here he was backed by Sam French on bass and Nick Whitfield on guitar. This set took no prisoners from the start with tear ups like ‘Red Hot Mama’, ‘Slow Down’ and the bad luck personified ‘Welcome to my Hell’.
The thunderous tone was maintained virtually throughout, with fiery rockers like ‘No Brakes’, ‘Junkyard Dog’ and ‘Blitzkrieg Bop’. For many, the Go Getter anthem is ‘No Heart To Spare’, and that appeared later in the show, with British rocker ‘Please Don’t Touch’ the cover of the Undertones ‘Teenage Kicks’ and ‘Hip Shakin’ Mama’. The diehards left, loved it.
And there it was gone. The first weekender of the year for us, and indeed the first sortie since mid-December. Sure, we weren’t our usual energetic selves on the dancefloor, but it didn’t stop us appreciating the quality of acts on, both behind the decks and on the stage. I think the attendees are on board with the event in one building and the large market at the yacht club. A highly enjoyable event once again from the Guntrip family, in the ‘tonks of Norfolk.
November’s event is already planned, with acts as diverse as Scotty Baker, the Guana Batz and Freddy Velas and the Silvertones. Check listings for details,
The thunderous tone was maintained virtually throughout, with fiery rockers like ‘No Brakes’, ‘Junkyard Dog’ and ‘Blitzkrieg Bop’. For many, the Go Getter anthem is ‘No Heart To Spare’, and that appeared later in the show, with British rocker ‘Please Don’t Touch’ the cover of the Undertones ‘Teenage Kicks’ and ‘Hip Shakin’ Mama’. The diehards left, loved it.
And there it was gone. The first weekender of the year for us, and indeed the first sortie since mid-December. Sure, we weren’t our usual energetic selves on the dancefloor, but it didn’t stop us appreciating the quality of acts on, both behind the decks and on the stage. I think the attendees are on board with the event in one building and the large market at the yacht club. A highly enjoyable event once again from the Guntrip family, in the ‘tonks of Norfolk.
November’s event is already planned, with acts as diverse as Scotty Baker, the Guana Batz and Freddy Velas and the Silvertones. Check listings for details,
Next Hemby's line up
|
New for May from Bill Guntrip
|
Interview with Randy Richter
We were trying to recall the first time we saw German Rockabilly band Randy Rich and the Poor Boys play live. Suffice to say it’s a number of years, possibly the early noughties, from where also came the debut CD ‘The Way You Came’ (2003). The authentic sound and deft guitar work of lead singer, Randy Richter was a massive feature of the band’s character.
Lately he’s become a feature on YouTube, offering guitar lessons, which we’ll let him chat about later.
BJR. Where did it all start for Randy Richter?
RR It started 1987 in Rostock, on the Baltic Coast of East Germany. At that time it was still the German Democratic Republic behind the iron curtain. At a big party I saw a couple of people who called themselves Teds. I really loved the look and decided to join the gang.
BJR. What was your introduction to 50’s Rock ‘n’ Roll and Rockabilly?
RR When I was a kid, 50's and revival rock 'n' roll was present everywhere on television and radio. My parents regularly watched a British TV show called Let's Rock which featured many of the UK rock 'n' roll stars. I loved the show and was deeply impressed by Shakin' Stevens. Then some years later I fell in love with the music of Sam Cooke, Ben E. King, Percy Sledge which was often played on the radio due to the success in commercials. I also loved to watch the Elvis movies on TV. Then when I finally met the before mentioned Teds, I dived deeper into the music of the era and discovered the soundtrack of my life. The more I listened to 1950s rock 'n' roll the more I fell in love with the genre, but also the fashion, the cars, the movies and so on.
BJR. I think we’re right in saying that you’re a self-taught guitarist. Was Rock ‘n’ Roll your first choice of music to play?
RR Yes, it was. The first song I learned on guitar was Can't Help Falling In Love by Elvis. I bought a songbook with 40 Elvis Songs and I learned most of them.
BJR. How did you approach learning the guitar? Did you rely on reproducing the sounds you heard on records, sheet music or tabs?
RR At first I bought a book that showed how to read music. This enabled me to play the vocal melodies from the Elvis songbook. I also learned the basic chords from that book. At the same time I tried to figure other songs out by ear which wasn't easy. I also asked other guitarists for advice. Nowadays I play mainly by ear but I also took the time to learn music theory over the years.
We were trying to recall the first time we saw German Rockabilly band Randy Rich and the Poor Boys play live. Suffice to say it’s a number of years, possibly the early noughties, from where also came the debut CD ‘The Way You Came’ (2003). The authentic sound and deft guitar work of lead singer, Randy Richter was a massive feature of the band’s character.
Lately he’s become a feature on YouTube, offering guitar lessons, which we’ll let him chat about later.
BJR. Where did it all start for Randy Richter?
RR It started 1987 in Rostock, on the Baltic Coast of East Germany. At that time it was still the German Democratic Republic behind the iron curtain. At a big party I saw a couple of people who called themselves Teds. I really loved the look and decided to join the gang.
BJR. What was your introduction to 50’s Rock ‘n’ Roll and Rockabilly?
RR When I was a kid, 50's and revival rock 'n' roll was present everywhere on television and radio. My parents regularly watched a British TV show called Let's Rock which featured many of the UK rock 'n' roll stars. I loved the show and was deeply impressed by Shakin' Stevens. Then some years later I fell in love with the music of Sam Cooke, Ben E. King, Percy Sledge which was often played on the radio due to the success in commercials. I also loved to watch the Elvis movies on TV. Then when I finally met the before mentioned Teds, I dived deeper into the music of the era and discovered the soundtrack of my life. The more I listened to 1950s rock 'n' roll the more I fell in love with the genre, but also the fashion, the cars, the movies and so on.
BJR. I think we’re right in saying that you’re a self-taught guitarist. Was Rock ‘n’ Roll your first choice of music to play?
RR Yes, it was. The first song I learned on guitar was Can't Help Falling In Love by Elvis. I bought a songbook with 40 Elvis Songs and I learned most of them.
BJR. How did you approach learning the guitar? Did you rely on reproducing the sounds you heard on records, sheet music or tabs?
RR At first I bought a book that showed how to read music. This enabled me to play the vocal melodies from the Elvis songbook. I also learned the basic chords from that book. At the same time I tried to figure other songs out by ear which wasn't easy. I also asked other guitarists for advice. Nowadays I play mainly by ear but I also took the time to learn music theory over the years.
BJR. Was there a rockin’ ‘scene’ around where you grew up?
RR As I mentioned in the beginning. There was a small scene in my hometown when I was a teenager. Once the wall fell, I travelled to other cities like Berlin and Hamburg and met more rockabillies.
BJR. Early musical influences on the young Randy Richter, and current influences
RR Early influences were 1950s and 1960s hits by Elvis, Chuck Berry, Buddy Holly, Paul Anka, Chubby Checker then also Sun Rockabilly, Johnny Burnette, Don Woody and others. This is still the base for me. Additionally I discovered hundreds of other more obscure artists that I really love like Sleepy LaBeef, Glen Glenn, Pat Cupp, Benny Joy, Alvis Wayne… too many to name them all
BJR. And the formation of your first band, how did you go about that process
RR That was pretty straightforward. A friend of mine called Öko, teased me that we didn't even have a band in our Ted gang. He was a drummer and more into The Beatles, but he liked rock 'n' roll as well. So I asked Öko and another friend called Waldi, who played guitar if we should form a band. They said yes, and we started rehearsing.
BJR. Do you recall your first performance?
RR Yes, I recall it vividly. We begged the promoter of a Lucky Strike - Rock 'n' Roll Promotion tour to let us play one song in between the main acts. Finally, he gave in and performed Be Bop A Lula by Gene Vincent. That's how it started. BTW I wrote all about that and also our first paid gig in my book Rock 'n' Roll Fieber, which I translated into English just recently.
BJR. You turned professional in the mid-1990’s, how did that feel to be able to do that
RR It felt fantastic. I had learned to be a mechanic which I never liked. During my apprenticeship we picked up more and more gigs with our band The Crazy Boys. So after my mandatory military service in 1995 I decided to play just music. It was pretty rough in the beginnings, but over the years I slowly was able to live a more comfortable life.
BJR. Notable artists that you have performed with?
RR Glen Glenn, Janis Martin, Huelyn Duvall, Roddy Jackson, Glenn Honeycutt and many more
BJR. You write your own material, in English, and you present on YouTube in English. Where did you learn the language?
RR I learned English for 4 years in school, However, I learned much more by communicating with native speakers at concerts and tours. I also lived three years in England and the US.
RR As I mentioned in the beginning. There was a small scene in my hometown when I was a teenager. Once the wall fell, I travelled to other cities like Berlin and Hamburg and met more rockabillies.
BJR. Early musical influences on the young Randy Richter, and current influences
RR Early influences were 1950s and 1960s hits by Elvis, Chuck Berry, Buddy Holly, Paul Anka, Chubby Checker then also Sun Rockabilly, Johnny Burnette, Don Woody and others. This is still the base for me. Additionally I discovered hundreds of other more obscure artists that I really love like Sleepy LaBeef, Glen Glenn, Pat Cupp, Benny Joy, Alvis Wayne… too many to name them all
BJR. And the formation of your first band, how did you go about that process
RR That was pretty straightforward. A friend of mine called Öko, teased me that we didn't even have a band in our Ted gang. He was a drummer and more into The Beatles, but he liked rock 'n' roll as well. So I asked Öko and another friend called Waldi, who played guitar if we should form a band. They said yes, and we started rehearsing.
BJR. Do you recall your first performance?
RR Yes, I recall it vividly. We begged the promoter of a Lucky Strike - Rock 'n' Roll Promotion tour to let us play one song in between the main acts. Finally, he gave in and performed Be Bop A Lula by Gene Vincent. That's how it started. BTW I wrote all about that and also our first paid gig in my book Rock 'n' Roll Fieber, which I translated into English just recently.
BJR. You turned professional in the mid-1990’s, how did that feel to be able to do that
RR It felt fantastic. I had learned to be a mechanic which I never liked. During my apprenticeship we picked up more and more gigs with our band The Crazy Boys. So after my mandatory military service in 1995 I decided to play just music. It was pretty rough in the beginnings, but over the years I slowly was able to live a more comfortable life.
BJR. Notable artists that you have performed with?
RR Glen Glenn, Janis Martin, Huelyn Duvall, Roddy Jackson, Glenn Honeycutt and many more
BJR. You write your own material, in English, and you present on YouTube in English. Where did you learn the language?
RR I learned English for 4 years in school, However, I learned much more by communicating with native speakers at concerts and tours. I also lived three years in England and the US.
BJR. Tell us how you became a guitar teacher, and what prompted the online version of tutoring?
RR In 2003 some friends of mine asked me if I could show them how to play guitar. So I did. I quickly found out that I really enjoy teaching and that money could be earned by doing it. So I expanded this part of my profession more and more. When YouTube hit the internet, I immediately had the idea to teach rockabilly online. However, it took a couple of years before I could actually buy my first equipment and learned how to effectively do it.
BJR. Just out of interest, do you think absolutely anyone, can play the guitar?
RR I think anybody can learn anything within his/her boundaries. There are many factors that determine how good you can get at playing guitar, mainly talent, available time, age, motivation, friends and so on.
BJR. How did the Covid-19 pandemic effect you as a musician, and indeed a guitar teacher?
RR Obviously as performing musician I was hit quite hard. There were hardly any gigs to play in the last two years. As a guitar teacher the impact wasn't too bad since online learning tools are now available for everybody. In the beginning of the pandemic the interest in my online courses was even higher than before.
BJR. What is in the future for you (worldwide pandemics permitting)?
RR I hope that I can continue to make ends meet with my music. I'd love to record some more records, play more shows, help young musicians and to teach many more students.
BJR. How can interested parties get in touch with you for merchandise, lessons and bookings?
RR They can have a look at my website www.randyrich.de The can also find me on facebook as Randy Richter. The best way to contact me is via email [email protected]
BJR. Thank you for doing this interview for us
Like what you see? Help us keep it free by popping us a donation using the button below. Many thanks
RR In 2003 some friends of mine asked me if I could show them how to play guitar. So I did. I quickly found out that I really enjoy teaching and that money could be earned by doing it. So I expanded this part of my profession more and more. When YouTube hit the internet, I immediately had the idea to teach rockabilly online. However, it took a couple of years before I could actually buy my first equipment and learned how to effectively do it.
BJR. Just out of interest, do you think absolutely anyone, can play the guitar?
RR I think anybody can learn anything within his/her boundaries. There are many factors that determine how good you can get at playing guitar, mainly talent, available time, age, motivation, friends and so on.
BJR. How did the Covid-19 pandemic effect you as a musician, and indeed a guitar teacher?
RR Obviously as performing musician I was hit quite hard. There were hardly any gigs to play in the last two years. As a guitar teacher the impact wasn't too bad since online learning tools are now available for everybody. In the beginning of the pandemic the interest in my online courses was even higher than before.
BJR. What is in the future for you (worldwide pandemics permitting)?
RR I hope that I can continue to make ends meet with my music. I'd love to record some more records, play more shows, help young musicians and to teach many more students.
BJR. How can interested parties get in touch with you for merchandise, lessons and bookings?
RR They can have a look at my website www.randyrich.de The can also find me on facebook as Randy Richter. The best way to contact me is via email [email protected]
BJR. Thank you for doing this interview for us
Like what you see? Help us keep it free by popping us a donation using the button below. Many thanks
The Rockabilly Rave is back, bigger than ever, and selling fast. Click flyer for details
cd & vinyl record releases
Some repros and new releases, reviewed. Bim Bam records carry these, as do many other vendors. Click banner for details
Nobster’s Beats, Spicy Gravy Vol 3 – CD review
We were anticipating this release for a while after The Nobster tipped us that Spicy Gravy Vol 3 was on the way. And here it is, another thirty gems from the vaults, mined and remastered by the Nobster himself on this CD, which is limited to 250 copies.
We start with some mid-60’s twang, with the Vaqueros ’80 Foot Wave’, a ‘B’ side from ’64 and one of those underrated surf tunes, that you know you’ve heard before, but just not often enough. It was released on the wonderfully named Bangar record label, the first of just three singles by the band. Some Rockabilly next with Gene Davis’ ‘I’ve Had It I’m Through’, a corker from 1959, on the Rosco label of California, which has a kind of George Jones vibe.
Donnie White from Kentucky, performed with the Pee Wee King entourage in 1958. Here he is in his own right with his debut King single, also from 1958 ‘Your Kind Of Lovin’. The definitive ‘Good Golly Miss Molly’ is Little Richard’s, however here, we have Gary Criss’ version, which was the rocking side of his debut single in 1961 on Strand Records, the flip being a teen love ballad. I don’t know much about Lowell Knipp, but the track here ‘Goofy Little Bug’ is an absolutely joyous treat. It’s from 1965, although it has an early 1950’s Western Swing feel about it, the beat is just so infectious.
Ella Johnson, (1923 – 2004) half of the successful R&B duo Buddy and Ella Johnson, (Buddy was her brother), was a jazz and R&B vocalist from 1940 onward into the 60’s then a solo singer. ‘Don’t Shout at Me Daddy’ is from 1958, and showcases Ella’s voice at her sultriest and smoothest, and the backing is exquisite. Jack Bailey (1938 -87) from Peterborough, Ontario, Canada, weighs in with a two and a quarter minute rocker ‘Oh What Love Is’ with his band, the Naturals from 1961. Something much more recent next, with Pete Hutton’s ‘Got To Have Myself a Ball’ from 2012. Listening to Pete here you could be forgiven for thinking that this pearl of a track, was from the vaults at Starday or Mercury Records. Top rhythm and beat on this one, folks.
Johnny Rivers is probably synonymous with ‘Secret Agent Man’ the theme to ‘Danger Man’. This however is an instrumental version by the Ventures, from 1966 the guitar driven band that formed in 1958 (to date). Jean and Dean’s ‘Tra La La La Suzy’ is one of those tunes that will stick in your brain for ages. Recorded in 1963, it reached #35 in the Billboard charts, and has a kind of jive meets twist rhythm to it. We think there’s nods to Sam Cooke in the vocal delivery and indeed ‘Twistin the Night Away’. Other than ‘I Walk’ a country styled stroller in the Wanda Jackson style, we know nothing of Sharon Arnold and the Ambassadors. That and this track from 1962 is superb, including the odd reverb late in the recording.
Some zippy rocking next with Bobby Dean’s ‘It’s a Fad Ma!’, one of those teen tracks trying to explain styles of the day to square parents (in this case, ma). It’s a good one from ’59. There’s also a cool ‘B’ side in the shape of Jerry Raines’ ‘Dangerous Redhead’, his debut 45 on Mercury in ‘61. Ace stroll beat and enhanced by the coolest sax break from Lee Allen on the tenor saxophone. Another instrumental version of a classic follows, this time it’s Little Richard’s ‘Lucille’, by Belgian guitar combo, the Jokers, and it works pretty well too.
There’s not a great deal we can tell you about Leon and James, other than they join up with a Mississippi band, The Continentals, to produce this 1960 piano and guitar delight of a single ‘Ella Rea’. Joe Melson, is an unsung hero as a songwriter, who is responsible for so many if Roy Orbison’s classic tunes, the like of ‘Only the Lonely’, ‘Running Scared’ and ‘Blue Bayou’. The track by him as a performer here is ‘Dance’, the flip to ‘Love is a Dangerous Thing’ from 1962 on Hickory Records. It’s very similar in places to Ray Charles’ ‘What’d I Say’.
Douglas Fontaine Brown, professionally known as Doug (sometimes Dugg) Brown from Ann Arbor, Michigan, may not have been the most prolific solo artist, however he worked with some big names, Del Shannon and Bob Seger for example. His debut single on Chess Records’ subsidiary Checker is from 1961, a nippy little ditty ‘Swingin’ Sue’. Dean Reed (1938 – 86) was a multi-talented chap, singer, actor, screenwriter and director. This track, ‘Female Hercules’, from 1961, is a cover of the Carlisles from 1954, and is somewhat of a novelty jiver.
Some Rockabilly jive grooves next with Bucky and the Premiers ‘Cruisin’ from 1959, not to be confused with the Gene Vincent track of the same name. Belting rocker this one, readers. ‘Betty and Bobby’ by Ernie Tucker and his Operators, yet another track from a rich goldmine that was 1961, this R&B jiver, has a superb sax break driving it along. Love it, and it makes you wonder why the band didn’t produce more material other than this sole 45rpm. On to 1962 next with some harmonica blues and ‘Roosters Blues’. Charlie McCoy, is a prolific session, Grammy Award winning session musician, who recorded this track as a ‘B’ side to the seminal ‘I Just Want To Make Love To You’.
The Mosriters, are another of the artists/bands on this CD whose output seems to be limited to just one single release, this being a top surf rock guitar instrumental from 1965. In a similar surf style, we have the Jades next, with ‘Little Marlene’. Best known probably for ‘Blue Black Hair’, this five-piece band from Bloomington/Minneapolis recorded this jewel in a similar if not so intense vein, in 1964. Another uplifting novelty from January ’61, with Johnny Preston’s ‘Just Little Boy Blue’. Catchy rhythm on this one set to nursey rhyme vocals, and a song that has slipped under the radar airplay-wise compared to the likes of ‘Charming Billy’ and ‘Cradle of Love’.
There are some suggestive lyrics in the 1960 jive tempo of ‘Good Gravy’, by Tommy Hawke. Another sole 45 release it seems. It was written by Jack Hammer, a nom de plume of Earl Solomon Burroughs, who co-wrote ‘Great Balls of Fire’ with Otis Blackwell. Jerry Reed (1937 – 2008) had an immense career as a singer, musician, actor and songwriter. His contribution here is from his Rockabilly catalogue, with ‘Bessie Baby’ on Capitol Records from 1958, an energetic jive tune for certain. The opening riff of Chuck Tharp’s ‘Long Long Ponytail’ is so familiar it has been confused with a certain British Rocker’s debut single. Tharp (1941 – 2006), co-wrote this dance hall winner, recorded on the Top Rank International in 1960. It’s a well-established Rockabilly jiver, and slots in nicely here too.
Bobby Floyd’s ‘It Gives Me Chills’ is sheer jiving delight. It’s co-written by Jimmy Breedlove and Zelda Samuels, so you could guess it would have a fantastic rhythm, ( a bit like ‘Jealous Fool’ in style) and boy does it deliver. One of the best among equals on this CD readers. Many people are very protective of some titles, and for me, ‘Bei Mir Bist Du Schon’ is the Andrews Sisters (1937) and no one else, even though the original Yiddish song was written in ‘32. That is until Frank Slay and his Orchestra’s instrumental, which is a full sounding and fitting conclusion to an excellent compilation.
Early copies of this CD might have slightly different track listings, due to a pressing plant error. What you do get here is, in our opinion, the best of the Spicy Gravy bunch to date. DJs, dancers and car drivers alike, will love this, play it loud and often.
We were anticipating this release for a while after The Nobster tipped us that Spicy Gravy Vol 3 was on the way. And here it is, another thirty gems from the vaults, mined and remastered by the Nobster himself on this CD, which is limited to 250 copies.
We start with some mid-60’s twang, with the Vaqueros ’80 Foot Wave’, a ‘B’ side from ’64 and one of those underrated surf tunes, that you know you’ve heard before, but just not often enough. It was released on the wonderfully named Bangar record label, the first of just three singles by the band. Some Rockabilly next with Gene Davis’ ‘I’ve Had It I’m Through’, a corker from 1959, on the Rosco label of California, which has a kind of George Jones vibe.
Donnie White from Kentucky, performed with the Pee Wee King entourage in 1958. Here he is in his own right with his debut King single, also from 1958 ‘Your Kind Of Lovin’. The definitive ‘Good Golly Miss Molly’ is Little Richard’s, however here, we have Gary Criss’ version, which was the rocking side of his debut single in 1961 on Strand Records, the flip being a teen love ballad. I don’t know much about Lowell Knipp, but the track here ‘Goofy Little Bug’ is an absolutely joyous treat. It’s from 1965, although it has an early 1950’s Western Swing feel about it, the beat is just so infectious.
Ella Johnson, (1923 – 2004) half of the successful R&B duo Buddy and Ella Johnson, (Buddy was her brother), was a jazz and R&B vocalist from 1940 onward into the 60’s then a solo singer. ‘Don’t Shout at Me Daddy’ is from 1958, and showcases Ella’s voice at her sultriest and smoothest, and the backing is exquisite. Jack Bailey (1938 -87) from Peterborough, Ontario, Canada, weighs in with a two and a quarter minute rocker ‘Oh What Love Is’ with his band, the Naturals from 1961. Something much more recent next, with Pete Hutton’s ‘Got To Have Myself a Ball’ from 2012. Listening to Pete here you could be forgiven for thinking that this pearl of a track, was from the vaults at Starday or Mercury Records. Top rhythm and beat on this one, folks.
Johnny Rivers is probably synonymous with ‘Secret Agent Man’ the theme to ‘Danger Man’. This however is an instrumental version by the Ventures, from 1966 the guitar driven band that formed in 1958 (to date). Jean and Dean’s ‘Tra La La La Suzy’ is one of those tunes that will stick in your brain for ages. Recorded in 1963, it reached #35 in the Billboard charts, and has a kind of jive meets twist rhythm to it. We think there’s nods to Sam Cooke in the vocal delivery and indeed ‘Twistin the Night Away’. Other than ‘I Walk’ a country styled stroller in the Wanda Jackson style, we know nothing of Sharon Arnold and the Ambassadors. That and this track from 1962 is superb, including the odd reverb late in the recording.
Some zippy rocking next with Bobby Dean’s ‘It’s a Fad Ma!’, one of those teen tracks trying to explain styles of the day to square parents (in this case, ma). It’s a good one from ’59. There’s also a cool ‘B’ side in the shape of Jerry Raines’ ‘Dangerous Redhead’, his debut 45 on Mercury in ‘61. Ace stroll beat and enhanced by the coolest sax break from Lee Allen on the tenor saxophone. Another instrumental version of a classic follows, this time it’s Little Richard’s ‘Lucille’, by Belgian guitar combo, the Jokers, and it works pretty well too.
There’s not a great deal we can tell you about Leon and James, other than they join up with a Mississippi band, The Continentals, to produce this 1960 piano and guitar delight of a single ‘Ella Rea’. Joe Melson, is an unsung hero as a songwriter, who is responsible for so many if Roy Orbison’s classic tunes, the like of ‘Only the Lonely’, ‘Running Scared’ and ‘Blue Bayou’. The track by him as a performer here is ‘Dance’, the flip to ‘Love is a Dangerous Thing’ from 1962 on Hickory Records. It’s very similar in places to Ray Charles’ ‘What’d I Say’.
Douglas Fontaine Brown, professionally known as Doug (sometimes Dugg) Brown from Ann Arbor, Michigan, may not have been the most prolific solo artist, however he worked with some big names, Del Shannon and Bob Seger for example. His debut single on Chess Records’ subsidiary Checker is from 1961, a nippy little ditty ‘Swingin’ Sue’. Dean Reed (1938 – 86) was a multi-talented chap, singer, actor, screenwriter and director. This track, ‘Female Hercules’, from 1961, is a cover of the Carlisles from 1954, and is somewhat of a novelty jiver.
Some Rockabilly jive grooves next with Bucky and the Premiers ‘Cruisin’ from 1959, not to be confused with the Gene Vincent track of the same name. Belting rocker this one, readers. ‘Betty and Bobby’ by Ernie Tucker and his Operators, yet another track from a rich goldmine that was 1961, this R&B jiver, has a superb sax break driving it along. Love it, and it makes you wonder why the band didn’t produce more material other than this sole 45rpm. On to 1962 next with some harmonica blues and ‘Roosters Blues’. Charlie McCoy, is a prolific session, Grammy Award winning session musician, who recorded this track as a ‘B’ side to the seminal ‘I Just Want To Make Love To You’.
The Mosriters, are another of the artists/bands on this CD whose output seems to be limited to just one single release, this being a top surf rock guitar instrumental from 1965. In a similar surf style, we have the Jades next, with ‘Little Marlene’. Best known probably for ‘Blue Black Hair’, this five-piece band from Bloomington/Minneapolis recorded this jewel in a similar if not so intense vein, in 1964. Another uplifting novelty from January ’61, with Johnny Preston’s ‘Just Little Boy Blue’. Catchy rhythm on this one set to nursey rhyme vocals, and a song that has slipped under the radar airplay-wise compared to the likes of ‘Charming Billy’ and ‘Cradle of Love’.
There are some suggestive lyrics in the 1960 jive tempo of ‘Good Gravy’, by Tommy Hawke. Another sole 45 release it seems. It was written by Jack Hammer, a nom de plume of Earl Solomon Burroughs, who co-wrote ‘Great Balls of Fire’ with Otis Blackwell. Jerry Reed (1937 – 2008) had an immense career as a singer, musician, actor and songwriter. His contribution here is from his Rockabilly catalogue, with ‘Bessie Baby’ on Capitol Records from 1958, an energetic jive tune for certain. The opening riff of Chuck Tharp’s ‘Long Long Ponytail’ is so familiar it has been confused with a certain British Rocker’s debut single. Tharp (1941 – 2006), co-wrote this dance hall winner, recorded on the Top Rank International in 1960. It’s a well-established Rockabilly jiver, and slots in nicely here too.
Bobby Floyd’s ‘It Gives Me Chills’ is sheer jiving delight. It’s co-written by Jimmy Breedlove and Zelda Samuels, so you could guess it would have a fantastic rhythm, ( a bit like ‘Jealous Fool’ in style) and boy does it deliver. One of the best among equals on this CD readers. Many people are very protective of some titles, and for me, ‘Bei Mir Bist Du Schon’ is the Andrews Sisters (1937) and no one else, even though the original Yiddish song was written in ‘32. That is until Frank Slay and his Orchestra’s instrumental, which is a full sounding and fitting conclusion to an excellent compilation.
Early copies of this CD might have slightly different track listings, due to a pressing plant error. What you do get here is, in our opinion, the best of the Spicy Gravy bunch to date. DJs, dancers and car drivers alike, will love this, play it loud and often.
Charlie Rich – 7” Vinyl
Even with the pandemics taking gigs away, I don’t think there are many out there who are not aware of the two monster tracks on this 45rpm, which comes on blue vinyl from Sleazy Records.
Charlie Rich (1932 – 95)had a style that encompassed so many different styles of music, from Rockabilly through jazz, country to soul and gospel. Here are two of his classic dancefloor tracks. ‘Midnite Blues’ the go-to stroller for many DJs, and an alternate take of the floor filling ‘Whirlwind’ jiver.
This is going to go like hot cakes
Even with the pandemics taking gigs away, I don’t think there are many out there who are not aware of the two monster tracks on this 45rpm, which comes on blue vinyl from Sleazy Records.
Charlie Rich (1932 – 95)had a style that encompassed so many different styles of music, from Rockabilly through jazz, country to soul and gospel. Here are two of his classic dancefloor tracks. ‘Midnite Blues’ the go-to stroller for many DJs, and an alternate take of the floor filling ‘Whirlwind’ jiver.
This is going to go like hot cakes
Ganiman – Repro 45rpm
Charles ‘Chick’ Ganimian (1922 – 88/89) was an American musician born of Armenian parents. His specialist instrument was the Oud, a kind of fretless lute like stringed instrument (not often seen at the Rockabilly Rave). This reproduction 45rpm, originally from 1959 on Atco records, is difficult to categorise.
‘My Funny Valentine’, is a show tune from Babes in Arms, by the formidable writing duo Rodgers and Hart. This version is a real curio, and although originally the ‘A’ side, is inferior to the ‘B’ side ‘Come With Me To The Casbah’ which is a mid-tempo exotic shuffle. Interesting stuff
Charles ‘Chick’ Ganimian (1922 – 88/89) was an American musician born of Armenian parents. His specialist instrument was the Oud, a kind of fretless lute like stringed instrument (not often seen at the Rockabilly Rave). This reproduction 45rpm, originally from 1959 on Atco records, is difficult to categorise.
‘My Funny Valentine’, is a show tune from Babes in Arms, by the formidable writing duo Rodgers and Hart. This version is a real curio, and although originally the ‘A’ side, is inferior to the ‘B’ side ‘Come With Me To The Casbah’ which is a mid-tempo exotic shuffle. Interesting stuff
Glen Glenn -45rpm review
American Rockabilly singer Glen Glenn (born Orin Glenn Troutman in 1934, recently passed in March 2022), had a short musical career in the 1950’s, which was brought to an abrupt end by him being drafted into the army. The revival in the 1980’s also re-energized interest in his recordings. Here are two of the best, on a reproduction 45rpm from 1958 on Hollywood’s Era record label.
‘One Cup of Coffee and a Cigarette’ is a mid tempo, acoustic guitar driven jive beat, with lyrics about a guy waiting for his love to arrive. Cool guitar solo on this one folks
‘Laurie Ann’ on the flip, is a gorgeous love song, with some pitch perfect harmonies backing Glen’s lead vocal.
Who knows what the recording industry would have held for Glen Glenn, had it not been for the call of Uncle Sam?
American Rockabilly singer Glen Glenn (born Orin Glenn Troutman in 1934, recently passed in March 2022), had a short musical career in the 1950’s, which was brought to an abrupt end by him being drafted into the army. The revival in the 1980’s also re-energized interest in his recordings. Here are two of the best, on a reproduction 45rpm from 1958 on Hollywood’s Era record label.
‘One Cup of Coffee and a Cigarette’ is a mid tempo, acoustic guitar driven jive beat, with lyrics about a guy waiting for his love to arrive. Cool guitar solo on this one folks
‘Laurie Ann’ on the flip, is a gorgeous love song, with some pitch perfect harmonies backing Glen’s lead vocal.
Who knows what the recording industry would have held for Glen Glenn, had it not been for the call of Uncle Sam?
Jackson Toombs/ Lightning Slim 45rpm
If you like what you read here about this storming twin spin on Excello Records, you better look lively in getting yourselves a copy as it is limited to a 300 press. It also comes with postcard shots of both artists and judging by the interest already, the release will soon go.
Jackson Toombs was a prolific writer and along with partner Vic McAlpin, composed for some pretty big names in Country music. Here he is in his own right from 1956, with his own Rockabilly jump, ‘Kiss-a-Me Quick’, a bright and breezy number, originally an ‘A’ side on Excello
Flip it over and it’s a corking railroad blues sound of Otis Verries Hicks, known professionally as Memphis Slim (1913-74). He recorded for Excello for a dozen years, collaborating with his brother-in-law, Slim Harpo occasionally. ‘Mean Old Lonesome Train’ is truly a fine blues stomp from 1957, featuring some ace harmonica work mimicking train sounds.
Excellence from Excello
If you like what you read here about this storming twin spin on Excello Records, you better look lively in getting yourselves a copy as it is limited to a 300 press. It also comes with postcard shots of both artists and judging by the interest already, the release will soon go.
Jackson Toombs was a prolific writer and along with partner Vic McAlpin, composed for some pretty big names in Country music. Here he is in his own right from 1956, with his own Rockabilly jump, ‘Kiss-a-Me Quick’, a bright and breezy number, originally an ‘A’ side on Excello
Flip it over and it’s a corking railroad blues sound of Otis Verries Hicks, known professionally as Memphis Slim (1913-74). He recorded for Excello for a dozen years, collaborating with his brother-in-law, Slim Harpo occasionally. ‘Mean Old Lonesome Train’ is truly a fine blues stomp from 1957, featuring some ace harmonica work mimicking train sounds.
Excellence from Excello
Jo-Anne Campbell – repro 45
Jo-Anne Campbell was born in Jacksonville Florida in 1938. Despite having a great voice, massive commercial success seemed to elude her, although she did reach No41 in the UK charts with ‘Motorcycle Michael’.
This double sider is just excellent though, pairing two strollers together. ‘You’re Driving Me Mad’ is originally an ‘A’ side from 1958, while ‘Beachcomber’, a slightly slower stroll tempo, was an ‘A’ side from a year later.
Both are sure fire dancefloor corkers
Jo-Anne Campbell was born in Jacksonville Florida in 1938. Despite having a great voice, massive commercial success seemed to elude her, although she did reach No41 in the UK charts with ‘Motorcycle Michael’.
This double sider is just excellent though, pairing two strollers together. ‘You’re Driving Me Mad’ is originally an ‘A’ side from 1958, while ‘Beachcomber’, a slightly slower stroll tempo, was an ‘A’ side from a year later.
Both are sure fire dancefloor corkers
The Ascots – Repro 45rpm
The Ascots’ were a quintet, whose recording career seem to be fairly short lived with a trio of releases in 1962. This repro release represents their debut single, and the two tracks are right on the tipping point of doo wop, R&B and soul.
‘Hip Talk’ has an ace stroll beat and super cool vocals, while ‘She Did’ has a slightly quicker rhythm. Both will grace many a dance floor
The Ascots’ were a quintet, whose recording career seem to be fairly short lived with a trio of releases in 1962. This repro release represents their debut single, and the two tracks are right on the tipping point of doo wop, R&B and soul.
‘Hip Talk’ has an ace stroll beat and super cool vocals, while ‘She Did’ has a slightly quicker rhythm. Both will grace many a dance floor
Wynona Carr – 45 rpm repro
Wynona Merceris Carr (1923-1976) was a singer songwriter, performer of R&B and gospel songs (as Sister Wynona Carr). Her R&B output on Speciality Records is already etched in dancefloor popularity.
Here she is, backed by the Bumps Blackwell Band, with a twin spin cracker, with her own composition on the ‘A’ side ‘Ding Dong Daddy’, a pacey jiver, with a slight novelty tinge. On the flip, ‘Touch and Go’, written by Sonny Bono, slightly more reserved in tempo, for those with a little less energy maybe.
Essential listening
Wynona Merceris Carr (1923-1976) was a singer songwriter, performer of R&B and gospel songs (as Sister Wynona Carr). Her R&B output on Speciality Records is already etched in dancefloor popularity.
Here she is, backed by the Bumps Blackwell Band, with a twin spin cracker, with her own composition on the ‘A’ side ‘Ding Dong Daddy’, a pacey jiver, with a slight novelty tinge. On the flip, ‘Touch and Go’, written by Sonny Bono, slightly more reserved in tempo, for those with a little less energy maybe.
Essential listening
|
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.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio. |
What's on where? Click here for details
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. This has to be a two way street for us to be able to continue beyond 2022. 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
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. This is the way we can continue beyond 2022
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. This has to be a two way street for us to be able to continue beyond 2022. 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
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. This is the way we can continue beyond 2022
Many thanks
