the bettajive review magazine #27
Sister Suzie at Hot Rock n Boogie
Welcome to our 27th issue. This month we don't have an interview, they haven't come back to us yet. Below you can read about the recent Hot Rock n Boogie event, this is THE place you get the most comprehensive review of the acts and a feeling of the ambience of this fine event. We also cover evening events at Jitterbugs and Chesterfield.
Enjoy, and if you feel like popping us over a donation, use the button below. Many thanks
Enjoy, and if you feel like popping us over a donation, use the button below. Many thanks
the bettajive review
If you know, you know and you're old :)
All day Rock-fest. I thought they’d had their day, to be honest, a few years ago, but the all dayer seems to have made a resurgence recently, post pandemic. You’ve probably read about some of them in the past Bettajive Reviews. So, what if you have never been to one? Here’s a guide to the event that is the all dayer, and my usual disclaimer stands, any resemblance to an event past or present, is purely coincidental…..
The actual event, the all dayer, by loose definition, normally starts at noon or early afternoon, and goes on right through to midnight or 1am. Back in the day, there would be events that would draw a lengthy queue before doors even opened. Of course, as young lads and lasses, we had little in the way of the commitments that we would today. Supermarkets were entered for the café, or a can of Watney’s Party Seven, or for wimps, a Party Four (other bulk beer containers are available). Now of course, working couples are poisoned with the necessity of trailing round these places to refuel the family for a week, spending a King’s ransom in the process. Therefore, a noon start is not always conducive for some.
Presuming you are there however, the doors open, if you are an early-bird, your first encounter is with the door staff. One or two heavy geezers, dressed in black with a fluorescent yellow armband. Latter day events are mercifully trouble free nowadays, the most ‘trouble’ many encounter, is to be unliked on Facebook, or unfollowed on Twitter (other social media platforms are available).
Sat at a table, just inside the doors, you’ll find part of the team who put the day on. Part of the team, meaning one of their non-rocking relatives, roped in for the afternoon, to sit in the foyer in a draught, trying to stop the flyers blowing about, taking the money. Pay your money, and approach one of the next two people with the wristbands. These things are the shackles of Satan himself, and you will find that normally dexterous people, look like they are wearing boxing gloves, fumbling as they do, to snap the little button thingy round your wrist. Ask them to cut off the trailing end of the wristband, and they come at you with a pair of scissors the size of garden shears, leaving a razor sharp end, with the rhetorical question ‘Is that OK?’ Health and safety eh 😊
The bar. Very important to many, especially it seems to those legging it across the floor quicker than Usain Bolt, to get a few libations. You’ll be met with a grilly shutter though, as despite there being half a dozen staff behind the bar, the manager, Stephen, has decided the bar cannot be opened until the ice buckets are in place.
By now, the music has started. The first of a number of DJs has their chance to make a name for themselves, to stamp their own style on the event, to all twenty people that are in. The stage itself has been set up, but half of the first band’s kit is still strooned over the dancefloor, and the sound man for the day, is unravelling scanes of cable, with a torch in his mouth like a Cuban cigar. You can tell the sound man, they are the ones wearing long shorts, with a collection of yellow and red handled screwdrivers poking out of them, and tablet with every sound balance slider known to man.
Ahead of you, will be the ‘bagsys’. These are couples, or individuals, who have been sent ahead of the main group, to procure a table and chairs. They do this by spreading a table cloth or flag over the table, coats on the chairs, and should you approach, spread themselves over several chairs like Caligula, to prevent interlopers.
Here come some of the beautiful people. Beautiful people are classy looking folk looking sharp so early in the afternoon. Even their money isn’t creased as they hand it over. Along next, the Rock n Roll family, four of which are into it with brass knobs on, but the fifth has been brought along as they are not old enough to be left at home alone. They’ll spend the whole event with a face on like a gorilla sucking a lemon, on their phone, texting their mates in protestation at being made to spend the day in such dire company. It’s sooooo unfair! Well that’s what happens when you invited your entire friends circle round, and they drink dad’s scotch and mum’s Prosecco (other Italian DOC or DOCG white wines, are available) and throw up behind the sideboard.
The organiser, there he/she is, that blur that just went by in a combination of adrenalin, furrowed brow, sweat and stress, through a door marked ‘private’. They’re cajoling the first band onto the stage, despite two of them having disappeared down the chippy for a portion of chips and battered sausage. A bit like herding kittens.
The first band, usually due to the logistics, are local. They are bought onto the stage by the MC for the day, who is commonly drafted in from another club. Already a slave to the brown bottle, they do their utmost to rev up the meagre audience to welcome the first act.
But wait, what’s that smell? Noses in the air and you’re getting beef, pork, potato products, frying onions, as the ‘Food available all day’ part of the flyer has arrived. Bugger this umpteenth version of ‘Honey Don’t’ you’ve heard, you’re off outside to pull some pork (leave it!). Oh the sheer nectar that is a reconstituted, wheel shaped flat thing, seared within an inch of it’s existence, placed between a bap (oi, I said, leave it!) and doused in tommy sauce. And only 50p extra, for a slice of unfermented dairy bi-product, masquerading as cheese. Oh, and you can keep that dill slop that some insist on poisoning you with.
Now you have your drink, and your chair, and a steady stream of fatty drips down your front from the burger, this doesn’t happen to the beautiful people incidentally. Here comes band number two. There’s a draught as the organiser whizzes by again, through the door marked ‘private’, as the MC devours another bottle of beer. Band number two have sound problems, as the lead singer ‘canna hear a *$%@in’ thing’ through the monitors. Uh oh, now there’s a sustained piercing screech through the speakers that has the audience screwing their faces up in tortured disapproval and a pod of humpback whales change direction somewhere off the coast.
Some sharply dressed Teds have arrived, lining the back of the hall like a defensive wall at a free kick. Here come some locals to join the event, a few from the local university campus with hair like an Acholi hut, and the bagsys’ friends have arrived. The dancers are populating the floor now, great jivers, and the uni students, already high on pre-loaded cheap cider, that think every tune is ‘The Twist’, and we are all interested in the view of their tongue and tonsils!
The third band are ready to play, the MC is now fluent in alcoholic piffle, bleathering about the first time they saw the band play, while the lead singer rests his arms on his guitar rolling his eyes in mock boredom, and the bass player observes him with mild indignation. The organiser whizzes by, and through the door marked ‘private’. I’m thinking at this point words to the effect of ‘Get off the stage you strange and insane little man!’
People have changed clothes, more have arrived, and the room is now buzzing. The dancefloor is well populated, whatever the style. The uni students have learned to stroll in the standard way, in the ladies’ bogs, and even the organiser has allowed themself a boogie.
The main event has turned up, the epitome of a Rock n Roll performer, in a pair of jogging bottoms and a baseball cap! Worst of all it’s a New York Jets cap! (It’s not, but I had to get that in). The band trample all over the DJ set by loudly sound checking, especially the drummer ‘duddle-a duddle-a duddle-a badoom tish’ ad infinitum. The DJ glares at them, they are oblivious, the organiser runs through the door marked ‘private’, the MC props himself up on the mic stand, completely slaughtered and proclaiming his love for the entire audience. He’d like to thank ‘AB & C’ for putting this event on, hasn’t it been great? Yep when you’ve drunk all the profits fella’
The headline act goes down a storm, the whole event is decreed an unmitigated success by all and sundry. The last DJ fills the floor as the event goes to a conclusion, normally with ‘Freight Train Boogie’, ‘Mean Ol Train’ ‘How Low do You Feel’ and you’ve loved it. The grilly shutters are closed at the bar, ‘Stephen’ has instructed the staff to clear the glasses away. This usually involves them going round with a crate on a handle, picking glasses and bottles up and inspecting it like it’s a urine sample. The uni peeps are plastered, and have made friends with the MC in the alcohol haze. The sound guy breaks down the system, still with the torch in his mouth, some of the weaker attendees are making their way home
You’d say thank you to the organiser, but where are they?
Dare you look behind the door marked ‘private’?
Here come some of the beautiful people. Beautiful people are classy looking folk looking sharp so early in the afternoon. Even their money isn’t creased as they hand it over. Along next, the Rock n Roll family, four of which are into it with brass knobs on, but the fifth has been brought along as they are not old enough to be left at home alone. They’ll spend the whole event with a face on like a gorilla sucking a lemon, on their phone, texting their mates in protestation at being made to spend the day in such dire company. It’s sooooo unfair! Well that’s what happens when you invited your entire friends circle round, and they drink dad’s scotch and mum’s Prosecco (other Italian DOC or DOCG white wines, are available) and throw up behind the sideboard.
The organiser, there he/she is, that blur that just went by in a combination of adrenalin, furrowed brow, sweat and stress, through a door marked ‘private’. They’re cajoling the first band onto the stage, despite two of them having disappeared down the chippy for a portion of chips and battered sausage. A bit like herding kittens.
The first band, usually due to the logistics, are local. They are bought onto the stage by the MC for the day, who is commonly drafted in from another club. Already a slave to the brown bottle, they do their utmost to rev up the meagre audience to welcome the first act.
But wait, what’s that smell? Noses in the air and you’re getting beef, pork, potato products, frying onions, as the ‘Food available all day’ part of the flyer has arrived. Bugger this umpteenth version of ‘Honey Don’t’ you’ve heard, you’re off outside to pull some pork (leave it!). Oh the sheer nectar that is a reconstituted, wheel shaped flat thing, seared within an inch of it’s existence, placed between a bap (oi, I said, leave it!) and doused in tommy sauce. And only 50p extra, for a slice of unfermented dairy bi-product, masquerading as cheese. Oh, and you can keep that dill slop that some insist on poisoning you with.
Now you have your drink, and your chair, and a steady stream of fatty drips down your front from the burger, this doesn’t happen to the beautiful people incidentally. Here comes band number two. There’s a draught as the organiser whizzes by again, through the door marked ‘private’, as the MC devours another bottle of beer. Band number two have sound problems, as the lead singer ‘canna hear a *$%@in’ thing’ through the monitors. Uh oh, now there’s a sustained piercing screech through the speakers that has the audience screwing their faces up in tortured disapproval and a pod of humpback whales change direction somewhere off the coast.
Some sharply dressed Teds have arrived, lining the back of the hall like a defensive wall at a free kick. Here come some locals to join the event, a few from the local university campus with hair like an Acholi hut, and the bagsys’ friends have arrived. The dancers are populating the floor now, great jivers, and the uni students, already high on pre-loaded cheap cider, that think every tune is ‘The Twist’, and we are all interested in the view of their tongue and tonsils!
The third band are ready to play, the MC is now fluent in alcoholic piffle, bleathering about the first time they saw the band play, while the lead singer rests his arms on his guitar rolling his eyes in mock boredom, and the bass player observes him with mild indignation. The organiser whizzes by, and through the door marked ‘private’. I’m thinking at this point words to the effect of ‘Get off the stage you strange and insane little man!’
People have changed clothes, more have arrived, and the room is now buzzing. The dancefloor is well populated, whatever the style. The uni students have learned to stroll in the standard way, in the ladies’ bogs, and even the organiser has allowed themself a boogie.
The main event has turned up, the epitome of a Rock n Roll performer, in a pair of jogging bottoms and a baseball cap! Worst of all it’s a New York Jets cap! (It’s not, but I had to get that in). The band trample all over the DJ set by loudly sound checking, especially the drummer ‘duddle-a duddle-a duddle-a badoom tish’ ad infinitum. The DJ glares at them, they are oblivious, the organiser runs through the door marked ‘private’, the MC props himself up on the mic stand, completely slaughtered and proclaiming his love for the entire audience. He’d like to thank ‘AB & C’ for putting this event on, hasn’t it been great? Yep when you’ve drunk all the profits fella’
The headline act goes down a storm, the whole event is decreed an unmitigated success by all and sundry. The last DJ fills the floor as the event goes to a conclusion, normally with ‘Freight Train Boogie’, ‘Mean Ol Train’ ‘How Low do You Feel’ and you’ve loved it. The grilly shutters are closed at the bar, ‘Stephen’ has instructed the staff to clear the glasses away. This usually involves them going round with a crate on a handle, picking glasses and bottles up and inspecting it like it’s a urine sample. The uni peeps are plastered, and have made friends with the MC in the alcohol haze. The sound guy breaks down the system, still with the torch in his mouth, some of the weaker attendees are making their way home
You’d say thank you to the organiser, but where are they?
Dare you look behind the door marked ‘private’?
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Dot….dot. Best tracks in the world ever ever to put the banger in your bap for this month are The Jaye Sisters’ ‘G-3’, ‘Thunder’ by Bob Taylor and the Counts, and The Excels ‘Baby Doll’…….. “Maybe Baby”, a great Buddy Holly song, but could also be a brand name for a retro pregnancy test…….Once saw an ad for a ‘Rockin Restaurant’ advertising a big breakfast. What qualifies it to be ‘Rockin’? Tattooed Toast? Old Black Pudding, eggs done Sun side up? And tea cups with key chains on them……..
Jitter-bridge. The weekend after Hot Rock n Boogie saw us nip to Hubbert’s Bridge, Boston for a Jitterbugs all vinyl DJ evening. It featured a pre-event jive lesson session, with Claire and Neil Seabrook from Boston Jive, putting the attendees through their paces with an hour-long lesson. We haven’t watched a jive class for a few years now, but I tell you what folks, the moves were broken down into easily digestible and understandable sections, to a ‘one-and-two’ beat, which the dancers were able to replicate first go.
They went through a move, then played a track to try it out, then another move, a track to try that and the first move, and so on. During the track, Claire and Neil walked around checking out the new moves and answering questions. Very relaxed and no pressure to perform, and no one got detention 😊
After that, the people who just wanted the Jitterbugs event showed up. Jitterbugs DJs for the night were Mark’s Kicking the Boogie and Idaho Redd, playing everything from Rock n Roll, Rockabilly, Rhythm and Blues and Jump Jive. The sounds were as varied as Fats’ ‘I’m Ready’, through Big Jay McNeely’s ‘Funky Bug’, Cliff’s ‘Dancing Shoes’ and Dollar Bill’s ‘All Messed Up and Down’. The original ‘Hokey Pokey’ by Ray Anthony / Jo Anne Greer, also got an airing………
The Hubberts Bridge Community Centre venue and it’s dancefloor make it a super setting for a dance evening like this. So, there was plenty of jive and stroll and a good helping of boppers spread through the evening. The next one is July 30th, and it’s going to rock again readers.
They went through a move, then played a track to try it out, then another move, a track to try that and the first move, and so on. During the track, Claire and Neil walked around checking out the new moves and answering questions. Very relaxed and no pressure to perform, and no one got detention 😊
After that, the people who just wanted the Jitterbugs event showed up. Jitterbugs DJs for the night were Mark’s Kicking the Boogie and Idaho Redd, playing everything from Rock n Roll, Rockabilly, Rhythm and Blues and Jump Jive. The sounds were as varied as Fats’ ‘I’m Ready’, through Big Jay McNeely’s ‘Funky Bug’, Cliff’s ‘Dancing Shoes’ and Dollar Bill’s ‘All Messed Up and Down’. The original ‘Hokey Pokey’ by Ray Anthony / Jo Anne Greer, also got an airing………
The Hubberts Bridge Community Centre venue and it’s dancefloor make it a super setting for a dance evening like this. So, there was plenty of jive and stroll and a good helping of boppers spread through the evening. The next one is July 30th, and it’s going to rock again readers.
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Midnight Crawlers
Chez nous. Just getting in under the wire is the final gig at Old Wittington Miners Social Club, for Chesterfield Rock n Roll Club before the club closes down (presumably some kind of redevelopment is in the pipeline). Andy & Helen Barker and Graham & Penny Scott will be moving the Rock n Roll club to a new venue at Birdholme Working Men’s Club, Rothervale Road, Chesterfield S40 2TP as of the July gig, which has changed to the 9th of July, with the Mysterons. However, before all of that, we had the small matter of the farewell event with Andy B and Steve O on sounds and Midnight Crawlers providing the live entertainment. Note to English students and pedants alike, Midnight Crawlers have no definite article determiner to introduce them. I thank you.
The line-up is Sam Sproule on rhythm guitar and vocals, Paula Marks, vocals (maracas, tambourine and zills), lead guitarist and vocal Conrad Di Ianni, Bruno ‘Bridgebreaker’ Pannone on upright bass and drummer Vincenzo Di Mattei. Their sound? Broadly speaking, it’s Country, Hillbilly, Rockabilly and a couple of bluesy numbers. It’s played in a fashion that doesn’t overpower the listener. For example, drummer Vincenzo, uses a cocktail kit, and for the most part utilises brushes instead of sticks, blending in perfectly on tracks like the opener, Flatt and Scruggs’ ‘Cabin on the Hill’.
The first duet was a beauty, a cover of Tennessee Ernie and Ella Mae Morse’s ‘False Hearted Girl’, followed by Paula’s takes on ‘Walking After Midnight’, originally by Patsy Cline, and Wanda Jackson’s ‘Funnel of Love’, and the exceptional vocal delivery of ‘My Happiness’. Hugely enjoyable too was the instrumental ‘Buckaroo’ (Buck Owens I think), Hank Snow’s ‘Music Makin’ Mama’, The Surf Riders’ ‘I’m Out’ and to top off the first set Micky and Sylvia’s ‘No Good Lover’.
Following some smashing sounds from the decks, the band’s second set began with Ray Price’s break out hit from ’56, ‘Crazy Arms’, which also rubbed shoulders with Carl Perkins’ ‘Movie Magg’. Good to hear ‘Till My Money Ran Out’ (Jesse Mattingly?) and a corking take on the Texas Troubadour’s ‘Driving Those Nails in my Coffin’. Conrad took lead vocals on George Jones’ ‘White Lightnin’ and Paula’s vocals on ‘Hey Little Dreamboat’ and ‘Black Cadillac’ were ace, as well as a song we think was called ‘The Preacher’ the origins of which we don’t know (yet). Cracking second set ended with classics of ‘Honey Don’t’ and ‘Blue Suede Shoes’ (think Sid King’s version).
All round a tip top night at Chezzy. Midnight Crawlers are a band you need to go and catch live. There is a CD in the offing as well we gather. NB Just had a communique from Paula, who composed 'The Pusher', not as we thought 'The Preacher' (thus we mourn the demise of Q-tips to clean our ears out). Hopefully this will be put down on a recording sometime soon. Happy to provide an update. Thanks Paula
Chesterfield Rock n Roll club, onwards and upwards to the next adventure in the new venue. See you there!
Gallery images below, click on them for full sized pics
The line-up is Sam Sproule on rhythm guitar and vocals, Paula Marks, vocals (maracas, tambourine and zills), lead guitarist and vocal Conrad Di Ianni, Bruno ‘Bridgebreaker’ Pannone on upright bass and drummer Vincenzo Di Mattei. Their sound? Broadly speaking, it’s Country, Hillbilly, Rockabilly and a couple of bluesy numbers. It’s played in a fashion that doesn’t overpower the listener. For example, drummer Vincenzo, uses a cocktail kit, and for the most part utilises brushes instead of sticks, blending in perfectly on tracks like the opener, Flatt and Scruggs’ ‘Cabin on the Hill’.
The first duet was a beauty, a cover of Tennessee Ernie and Ella Mae Morse’s ‘False Hearted Girl’, followed by Paula’s takes on ‘Walking After Midnight’, originally by Patsy Cline, and Wanda Jackson’s ‘Funnel of Love’, and the exceptional vocal delivery of ‘My Happiness’. Hugely enjoyable too was the instrumental ‘Buckaroo’ (Buck Owens I think), Hank Snow’s ‘Music Makin’ Mama’, The Surf Riders’ ‘I’m Out’ and to top off the first set Micky and Sylvia’s ‘No Good Lover’.
Following some smashing sounds from the decks, the band’s second set began with Ray Price’s break out hit from ’56, ‘Crazy Arms’, which also rubbed shoulders with Carl Perkins’ ‘Movie Magg’. Good to hear ‘Till My Money Ran Out’ (Jesse Mattingly?) and a corking take on the Texas Troubadour’s ‘Driving Those Nails in my Coffin’. Conrad took lead vocals on George Jones’ ‘White Lightnin’ and Paula’s vocals on ‘Hey Little Dreamboat’ and ‘Black Cadillac’ were ace, as well as a song we think was called ‘The Preacher’ the origins of which we don’t know (yet). Cracking second set ended with classics of ‘Honey Don’t’ and ‘Blue Suede Shoes’ (think Sid King’s version).
All round a tip top night at Chezzy. Midnight Crawlers are a band you need to go and catch live. There is a CD in the offing as well we gather. NB Just had a communique from Paula, who composed 'The Pusher', not as we thought 'The Preacher' (thus we mourn the demise of Q-tips to clean our ears out). Hopefully this will be put down on a recording sometime soon. Happy to provide an update. Thanks Paula
Chesterfield Rock n Roll club, onwards and upwards to the next adventure in the new venue. See you there!
Gallery images below, click on them for full sized pics
Hemsby in November, click on the flyer for details
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The Rave is very close now, some places may still be available if you contact the Rave office for details
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hot rock n boogie #3
Pat Reyford
Hot Rock n Boogie #3
Oh, how the words ‘See you next year’ in May 2019 rang in the ears of those who had enjoyed the Boston Jive weekender, through the Covid lockdowns. As with many who run such events, the uncertainty led to rescheduling and cancellations for nigh on two years. Finally, the light at the end of the tunnel, wasn’t an oncoming train, it heralded the return, for Claire and Neil Seabrook, of the long-awaited Hot Rock n Boogie #3.
The venue once again was Springfields Event Centre, in Spalding, Lincolnshire, with a large and airy main hall, a sizeable room for the stalls, and an on-site café. Naturally with a big hangar like hall, the floor was concrete, however that was covered in a large part by a temporary wooden dancefloor.
The line-up was very strong, in the main it was British acts, and who can blame the organisers, given continued worldwide uncertainty. The live music started after a couple of jive classes in the morning, and we arrived to be in place to catch the opening act, Sugar Ray and the Lucky Strikes. Fronted by the multi-talented Pat Reyford, on lead guitar and vocals, they presented the perfect start to the weekend with a set of R&B with a sprinkle of jazzy dust as well. ‘Better Believe It’ opened the show before a smashing version of Sticks McGhee’s ‘Drinkin’ Wine Spo Dee O Dee’ delighted those into the forty’s vibe.
Emile Ford’s styled ‘Slow Boat To China’ got the strollers out early doors, while the delightful lyrics of ‘Big Bug Boogie’ shone. Nina Taylor joined the band, for a few numbers, picking Peggy Lee’s 1951 chug-a-long tune ‘Cannonball Express’ to open with. Nina was on top vocal form with Varetta Dillard’s ‘Promise Mister Thomas’ and going back a little further to ’44 and the King Sisters’ ‘’Milkman Keep Those Bottles Quiet’.
Pat took over again, taking on greats like Wynonie’s ‘Good Morning Judge’, the Mike Pedicin styled ‘Burnt Toast and Black Coffee’ and the classic timbre of ‘All of Me’. Back came Nina with another Varetta Dillard classic (author’s note, anything by Varetta is classic! OK? As you were readers) ‘Them There Eyes’, Ella Mae Morse’s 1942 ditty ‘Cow Cow Boogie’ and topping it off with a Ruth Brown rocker ‘This Little Girl’s Gone Rockin’. Pat took over the vocal reins to conclude the set with a couple of floor fillers ‘Ain’t Got No Home’ and ‘Bottle it up and Go’. What a quality opening to the weekender. Gallery images below
Oh, how the words ‘See you next year’ in May 2019 rang in the ears of those who had enjoyed the Boston Jive weekender, through the Covid lockdowns. As with many who run such events, the uncertainty led to rescheduling and cancellations for nigh on two years. Finally, the light at the end of the tunnel, wasn’t an oncoming train, it heralded the return, for Claire and Neil Seabrook, of the long-awaited Hot Rock n Boogie #3.
The venue once again was Springfields Event Centre, in Spalding, Lincolnshire, with a large and airy main hall, a sizeable room for the stalls, and an on-site café. Naturally with a big hangar like hall, the floor was concrete, however that was covered in a large part by a temporary wooden dancefloor.
The line-up was very strong, in the main it was British acts, and who can blame the organisers, given continued worldwide uncertainty. The live music started after a couple of jive classes in the morning, and we arrived to be in place to catch the opening act, Sugar Ray and the Lucky Strikes. Fronted by the multi-talented Pat Reyford, on lead guitar and vocals, they presented the perfect start to the weekend with a set of R&B with a sprinkle of jazzy dust as well. ‘Better Believe It’ opened the show before a smashing version of Sticks McGhee’s ‘Drinkin’ Wine Spo Dee O Dee’ delighted those into the forty’s vibe.
Emile Ford’s styled ‘Slow Boat To China’ got the strollers out early doors, while the delightful lyrics of ‘Big Bug Boogie’ shone. Nina Taylor joined the band, for a few numbers, picking Peggy Lee’s 1951 chug-a-long tune ‘Cannonball Express’ to open with. Nina was on top vocal form with Varetta Dillard’s ‘Promise Mister Thomas’ and going back a little further to ’44 and the King Sisters’ ‘’Milkman Keep Those Bottles Quiet’.
Pat took over again, taking on greats like Wynonie’s ‘Good Morning Judge’, the Mike Pedicin styled ‘Burnt Toast and Black Coffee’ and the classic timbre of ‘All of Me’. Back came Nina with another Varetta Dillard classic (author’s note, anything by Varetta is classic! OK? As you were readers) ‘Them There Eyes’, Ella Mae Morse’s 1942 ditty ‘Cow Cow Boogie’ and topping it off with a Ruth Brown rocker ‘This Little Girl’s Gone Rockin’. Pat took over the vocal reins to conclude the set with a couple of floor fillers ‘Ain’t Got No Home’ and ‘Bottle it up and Go’. What a quality opening to the weekender. Gallery images below
Race With The Devil
Next cab off the rank, Race With The Devil, Anton, Dave, Markus and Luke. Now readers, if you know you’re rockin’ you’ll be thinking Gene Vincent, right? Indeed, there’s a fair chunk from his back catalogue in the set, as well as other classic artists as well. ‘Crazy Legs’ opened the show, with Dave’s Cliff Gallup exquisite guitar work to the fore.
Just recalling the Gene songs in the set list is a what’s-what of Rock n Roll. I mean, who takes on ‘Cat Man’? Well, these guys did, challenging to the audience to dance to it, as no one does, or did. Sure enough the tempo of this haunting rocker doesn’t lend itself to terpsichore.
The band’s name ‘Race With The Devil’ featured, along with the supercool ‘I Flipped’, the frantic ‘Who Slapped John’, the rich listings of ‘Pink Thunderbird’, ‘Jumps Giggles and Shouts’ and the title track of Gene’s debut Capitol album ‘Blue Jean Bop’. There are some monster tunes in there folks, where few dare to tread musically.
Other artists music featured throughout as well, as the guitar work switched to the Johnny Burnette Trio sound on ‘Rock Therapy’, the bop beat of ‘Lonesome Train’, ‘All By Myself’, ‘Sweet Love on my Mind’ and ‘Drinking Wine Spo Dee O Dee’ (different version than the band preceding). Add to that, Carl Perkins anthemic ‘Dixie Fried’, Buddy’s ‘Blue Days, Black Nights’ and Rusty and Doug’s ‘Hey Mae’, and you’ll appreciate the diversity and quality of the show.
Just recalling the Gene songs in the set list is a what’s-what of Rock n Roll. I mean, who takes on ‘Cat Man’? Well, these guys did, challenging to the audience to dance to it, as no one does, or did. Sure enough the tempo of this haunting rocker doesn’t lend itself to terpsichore.
The band’s name ‘Race With The Devil’ featured, along with the supercool ‘I Flipped’, the frantic ‘Who Slapped John’, the rich listings of ‘Pink Thunderbird’, ‘Jumps Giggles and Shouts’ and the title track of Gene’s debut Capitol album ‘Blue Jean Bop’. There are some monster tunes in there folks, where few dare to tread musically.
Other artists music featured throughout as well, as the guitar work switched to the Johnny Burnette Trio sound on ‘Rock Therapy’, the bop beat of ‘Lonesome Train’, ‘All By Myself’, ‘Sweet Love on my Mind’ and ‘Drinking Wine Spo Dee O Dee’ (different version than the band preceding). Add to that, Carl Perkins anthemic ‘Dixie Fried’, Buddy’s ‘Blue Days, Black Nights’ and Rusty and Doug’s ‘Hey Mae’, and you’ll appreciate the diversity and quality of the show.
Sister Suzie
“I lost me keys, Howay man!” I don’t know if Carol Fran ever used that phrase at the start of her 1959 Excello single ‘Knock Knock’ (given she was from Lafayette, Louisiana, my guess is probably not), but wor marra Sister Suzie belted it out to open her show with the Right Band in tow. Two saxophones, Nick Lunt on baritone, Al Nichols playing tenor, Andy Ingram on bass guitar, drummer Jason M Smith and lead guitarist Matt Jackson.
This show was ‘mint’ from start to finish, as Suzie’s personality sparkled like the sequins on her green outfit, with Big Mama Thorntons’ ‘Just Like an Old Dog’ and Elmore James’ ‘Can’t Hold Out’ hitting the high and goldens. ‘Another Waste of My Time’, ooer, whoever the subject of those lyrics was, probably won’t own up. It’s the sentiment of ‘You’re so Vain’ with added lyrical venomous sarcasm. Jimmy Reed’s ‘Shame Shame Shame’ (not Smiley Lewis or Shirley and Co 😊), rocked, as did her versions of Ruth’s ‘5-10-15 Hours’, Ella Mae Morse’s ‘Forty Cups of Coffee’ and the adulterous tones of the saucy ‘You Can Have My Husband, But Please Don’t Mess With My Man’, which took on the Irma Thomas style.
Suzie writes a good tune too, the title track of her LP, ‘Ain’t No Lady’, and ‘Working Girl’ with guitarist Matt Jackson, and at pains to point out that the lyrics mean she’s a girl that works for a living rather than, well you work it out! The audience were well into this set, which kept up the eminence with the oddity of ‘Cheese and Crackers’ (Roscoe Gordon) and
Lula Reed’s ‘Puddentane’. An outstanding set that had powerhouse vocals, engaging and humorous segues with the crowd, top musicianship and a treasure chest of tip top R&B. Best set of Saturday, and that’s saying something. Proper class with just enough sass. Howay lass!
Gallery images below
This show was ‘mint’ from start to finish, as Suzie’s personality sparkled like the sequins on her green outfit, with Big Mama Thorntons’ ‘Just Like an Old Dog’ and Elmore James’ ‘Can’t Hold Out’ hitting the high and goldens. ‘Another Waste of My Time’, ooer, whoever the subject of those lyrics was, probably won’t own up. It’s the sentiment of ‘You’re so Vain’ with added lyrical venomous sarcasm. Jimmy Reed’s ‘Shame Shame Shame’ (not Smiley Lewis or Shirley and Co 😊), rocked, as did her versions of Ruth’s ‘5-10-15 Hours’, Ella Mae Morse’s ‘Forty Cups of Coffee’ and the adulterous tones of the saucy ‘You Can Have My Husband, But Please Don’t Mess With My Man’, which took on the Irma Thomas style.
Suzie writes a good tune too, the title track of her LP, ‘Ain’t No Lady’, and ‘Working Girl’ with guitarist Matt Jackson, and at pains to point out that the lyrics mean she’s a girl that works for a living rather than, well you work it out! The audience were well into this set, which kept up the eminence with the oddity of ‘Cheese and Crackers’ (Roscoe Gordon) and
Lula Reed’s ‘Puddentane’. An outstanding set that had powerhouse vocals, engaging and humorous segues with the crowd, top musicianship and a treasure chest of tip top R&B. Best set of Saturday, and that’s saying something. Proper class with just enough sass. Howay lass!
Gallery images below
Dylan Kirk
Some serious piano pumping followed, with Dylan Kirk and the Killers, with Dylan accompanied by the afore mentioned Matt Jackson, back on stage, on lead guitar. This set rattled along from the get-go with Gene Summers’ ‘School of Rock n Roll’ setting the pace. Tommy (Sleepy) LaBeff’s ‘Tore Up’ from ’62 got the crowd out on the floor again with Tommy Blake’s ‘I Dig You Baby’ and Ray Smith’s ‘You Made a Hit’ hot on the heels.
Great stroll sound of Johnny ‘Guitar’ Watson’s ‘Looking Back’, measured vocal power, and restraint, but still with intensity, with the pace ratcheted up for Little Victor’s ‘Papa Lou and Gran’. That’s a frantic rocker that you’d be breathless just watching. As you’d probably expect with a piano based Rock n Roll band, there would be some Jerry Lee Lewis, and Dylan obliged with ‘Down the Line’ from ’58 and ‘Milkshake Mademoiselle’ from ’57 with considerable dexterity on the eighty-eight keys.
It was clear he wasn’t going to slow down right until the end, which contained two belters, Ronnie Dawson’s ‘Monkey Beat City’ and the desperate Rockabilly sound of Ronnie Self’s ‘Bop a Lena’ which rounded everything off. Another fine rocking show from Dylan Kirk.
Great stroll sound of Johnny ‘Guitar’ Watson’s ‘Looking Back’, measured vocal power, and restraint, but still with intensity, with the pace ratcheted up for Little Victor’s ‘Papa Lou and Gran’. That’s a frantic rocker that you’d be breathless just watching. As you’d probably expect with a piano based Rock n Roll band, there would be some Jerry Lee Lewis, and Dylan obliged with ‘Down the Line’ from ’58 and ‘Milkshake Mademoiselle’ from ’57 with considerable dexterity on the eighty-eight keys.
It was clear he wasn’t going to slow down right until the end, which contained two belters, Ronnie Dawson’s ‘Monkey Beat City’ and the desperate Rockabilly sound of Ronnie Self’s ‘Bop a Lena’ which rounded everything off. Another fine rocking show from Dylan Kirk.
The Revolutionaires
Let’s have some more canny North East sounds next with the return of the Revolutionaires to the Spalding stage. It was February 2020, the last time we’d seen the Revs. The line-up has changed since then with brothers Ed Stephenson on vocals and guitar and Rich Stephenson now on electric bass, teaming up with Steve Croft on keyboards (ie not just piano) and John Lambert on drums.
The sound a little is different too, although the favourites are still there, and the delight of the audience on hearing the opening bars of ‘Riot In Cell Block Number Nine’, was palpable. This version of the Robins’ 1954 Leiber and Stoller composition, has been reworked into a blues bopper and is a stick-on winner for the band. Similarly, Moon Mullican’s ‘Seven Nights to Rock’ is always a favourite with the crowd.
‘Miserlou’ with the soprano saxophone, replaced by a Hammond organ sound, sure resonates differently, but still with the power and punch of Dick Dale’s surf kicker. ‘Ed’s Blues’ (think it’s called that!), is an epic harmonica instrumental, set to a thumping drum beat. Ed employs a proper harmonica microphone to enhance the harp wail during the marathon foot-stomper. Add to that, the Mar-keys ‘Last Night’ (bet you think of Eddie Hitler and Richie Richard if you are of our vintage), which is a great instro originally from 1961, and ‘Green Onions’……. Plenty of boogie woogie piano and the usual Revs gusto which culminated in Slim Harpo’s ‘Shake Your Hips’.
The sound a little is different too, although the favourites are still there, and the delight of the audience on hearing the opening bars of ‘Riot In Cell Block Number Nine’, was palpable. This version of the Robins’ 1954 Leiber and Stoller composition, has been reworked into a blues bopper and is a stick-on winner for the band. Similarly, Moon Mullican’s ‘Seven Nights to Rock’ is always a favourite with the crowd.
‘Miserlou’ with the soprano saxophone, replaced by a Hammond organ sound, sure resonates differently, but still with the power and punch of Dick Dale’s surf kicker. ‘Ed’s Blues’ (think it’s called that!), is an epic harmonica instrumental, set to a thumping drum beat. Ed employs a proper harmonica microphone to enhance the harp wail during the marathon foot-stomper. Add to that, the Mar-keys ‘Last Night’ (bet you think of Eddie Hitler and Richie Richard if you are of our vintage), which is a great instro originally from 1961, and ‘Green Onions’……. Plenty of boogie woogie piano and the usual Revs gusto which culminated in Slim Harpo’s ‘Shake Your Hips’.
Devils Cut Combo
Ending the day’s entertainment on stage, were the Devil’s Cut Combo, demonstrating perfectly the variety on show at the event. The Devil’s Cut Combo are a four piece, that bring their own upright piano and a considerable amount of decorative bric-a-brac, from a time period they represent through their music. Lamps and lampshades, bottles, posters from the time with double-entendres and some kind of liquor, that was generously shared out among the audience in shot glasses.
The band’s style is very much a hot mix of jump jive and R&B, a sort of ‘somewhere in the 50’s’ category. The band members tend to go by their nicknames Slim D. Ville Proseco George, The Preacher Man and 'Wild' Bill Renwick. The main vocals are performed by front man Slim, or as many would know, Rob Hillier pickin’ and strummin’ his vintage Gibson*
Most of what the band play I’m pretty certain is original material, and the origins of influences for some of the titles, could be questionable. I mean where do you start with a title like ‘Pig’s Knuckle Soup’? We don’t know, but what we do know is that, it’s a piano delight instrumental, with an injection of boogie woogie. ‘Hot Pork’ is a smashing rocker, which is about the culinary name for porcine flesh, I think. And in a similar vein, ‘Monkey Shoulder’ has a similar bounce to it.
Check out if you can, the brilliantly titled ‘Bottom Shelf Bourbon Meltdown’, ‘Whip It Up Mama’ and ‘Called you Five Times Since Wednesday’ as well. Here’s four musicians, who have taken the jumping boogie sound from yesteryear and composed material that sounds like it’s straight off a 78rpm, once they’ve dunked it in bourbon. Or for that matter, ‘Pig’s Knuckle Soup’ 😊. Gallery images below
The band’s style is very much a hot mix of jump jive and R&B, a sort of ‘somewhere in the 50’s’ category. The band members tend to go by their nicknames Slim D. Ville Proseco George, The Preacher Man and 'Wild' Bill Renwick. The main vocals are performed by front man Slim, or as many would know, Rob Hillier pickin’ and strummin’ his vintage Gibson*
Most of what the band play I’m pretty certain is original material, and the origins of influences for some of the titles, could be questionable. I mean where do you start with a title like ‘Pig’s Knuckle Soup’? We don’t know, but what we do know is that, it’s a piano delight instrumental, with an injection of boogie woogie. ‘Hot Pork’ is a smashing rocker, which is about the culinary name for porcine flesh, I think. And in a similar vein, ‘Monkey Shoulder’ has a similar bounce to it.
Check out if you can, the brilliantly titled ‘Bottom Shelf Bourbon Meltdown’, ‘Whip It Up Mama’ and ‘Called you Five Times Since Wednesday’ as well. Here’s four musicians, who have taken the jumping boogie sound from yesteryear and composed material that sounds like it’s straight off a 78rpm, once they’ve dunked it in bourbon. Or for that matter, ‘Pig’s Knuckle Soup’ 😊. Gallery images below
Hot Rock dot….dot. Best tracks in the world ever ever to ding your spald for this year were ‘Funky Bug’ by Big Jay McNeely & Ray Collins Hot Club, The Wrens ‘Come Back My Love’ and ‘People Will Say We’re In Love’ by the Spaniels…….Missing songs in the live sets:- Sister Suzie’s ‘Big Mistake’, ‘Beat Me Daddy’ by the Devil’s Cut Combo, The Summertime Kings version of ‘Morse Code of Love’, The Doel Brothers’ take on ‘Pig Pen Boogie’ and the Jive Romeros ‘Here Comes the Green Light’ *shakes head slowly* 😉 …….Those that turned up at the Reverend Boogie’s Sunday appointment, expecting a sermon, got a lesson in shag (it’s a dance, get your minds out the gutter!)….. With Superman it was Kryptonite, Iron Man, his heart and the Fonz, it was liver. Me? It’s the Hammond organ sound, only made bearable by being drowned out by the sound of my own teeth grinding…..*I await the social media ducking stool if I’ve got the description of Rob’s Gibson incorrect…..OK, who didn’t tell us that Pagan was doing a one man show in the café? Only caught a couple of numbers right near the end of the performance, which I think might have been a pop-up show…….
A mention to the DJs. They play both the main ballroom and a DJ only area in an area where several stalls have pitched. Some cracking tunes over the weekend from Mister Big Feet, Mark’s Kickin’ the Boogie, Tone Deaf, The Reverend Boogie, Mark Vincent and George Guntrip.. DJs are the glue that binds a good weekender and the floor was populated throughout the weekender.
Dance gallery below
A mention to the DJs. They play both the main ballroom and a DJ only area in an area where several stalls have pitched. Some cracking tunes over the weekend from Mister Big Feet, Mark’s Kickin’ the Boogie, Tone Deaf, The Reverend Boogie, Mark Vincent and George Guntrip.. DJs are the glue that binds a good weekender and the floor was populated throughout the weekender.
Dance gallery below
Ashley's Midnite Blues
Sunday, and we are back to do it all again, with the first band on, Ashley’s Midnite Blues. Fronted by Ashley Dixon, they’ve gelled and come on as a band massively since we first saw them pre-pandemic. It’s like her voice has gained a decibel or two, and the band had their sound pitched just right for the show at Spalding. Their set list consists of a cool blend of rhythm and blues, as well as some Rockabilly and Rock n Roll, with a dash of soulful blues as well.
There’s the almost scolding tone of LaVern Baker’s ‘Voodoo Voodoo’, which preceded a brace of Janis Martin beauties, ‘Bang Bang’ and the joyous lilt of the forbidden love in ‘Let’s Elope Baby’. They then shifted into the early sixties with a floor filling take on Charles Sheffield’s ‘It’s Your Voodoo Working’ from ‘61, Trini Lopez’s ‘Sinner not a Saint’ from ’64 and Mike Pedicin’s ‘Burnt Toast and Black Coffee’ from ’61.
Swinging between styles, we had Tarheel Slim’s rocker ‘Number Nine’ and a sublime version of Dolly Cooper’s ‘My Man’, and then a country slew with Jean Chapel’s ‘He’s My Baby’, before jumping back on the blues with ‘Don’t Start Crying Now’, and the pleading ‘Stop These Teardrops’ (apparently this is ‘Popcorn’ styled music, about which I know nothing…). Super varied set from a band in fine fettle.
There’s the almost scolding tone of LaVern Baker’s ‘Voodoo Voodoo’, which preceded a brace of Janis Martin beauties, ‘Bang Bang’ and the joyous lilt of the forbidden love in ‘Let’s Elope Baby’. They then shifted into the early sixties with a floor filling take on Charles Sheffield’s ‘It’s Your Voodoo Working’ from ‘61, Trini Lopez’s ‘Sinner not a Saint’ from ’64 and Mike Pedicin’s ‘Burnt Toast and Black Coffee’ from ’61.
Swinging between styles, we had Tarheel Slim’s rocker ‘Number Nine’ and a sublime version of Dolly Cooper’s ‘My Man’, and then a country slew with Jean Chapel’s ‘He’s My Baby’, before jumping back on the blues with ‘Don’t Start Crying Now’, and the pleading ‘Stop These Teardrops’ (apparently this is ‘Popcorn’ styled music, about which I know nothing…). Super varied set from a band in fine fettle.
Si Cranstoun
A massive crowd puller took to the stage next, and I suggest for many, the highlight of their particular Sunday of not the entire event. Si Cranstoun and his band, for a mid-afternoon slot had the place jumping. Out of the traps he flew with Smiley Lewis’ ‘Hook Line and Sinker’ and grabbed the audience with his own ‘Coupe De Ville’.
From there it was a catalogue of his own material with a few well-placed covers. There’s material that if he didn’t play, he’d have probably been shaken by the ears by a lot of the crowd. Think ‘Ella Hula’, ‘Lonesome Heart Bandit’, ‘The Throwback’ ‘1950’s Pin Up Girl’ and (wait for it, wait for it) ‘Dynamo’.
‘Run Free’ is in the Sam Cooke vein, whilst ‘Vegas Baby’ is not unlike the afore mentioned ‘Dynamo’. Whichever. For some he could have sung the phone book, right up to the conclusion of ‘Twistin’ the Night Away’, the majority were that much into it. Us, not so much.
From there it was a catalogue of his own material with a few well-placed covers. There’s material that if he didn’t play, he’d have probably been shaken by the ears by a lot of the crowd. Think ‘Ella Hula’, ‘Lonesome Heart Bandit’, ‘The Throwback’ ‘1950’s Pin Up Girl’ and (wait for it, wait for it) ‘Dynamo’.
‘Run Free’ is in the Sam Cooke vein, whilst ‘Vegas Baby’ is not unlike the afore mentioned ‘Dynamo’. Whichever. For some he could have sung the phone book, right up to the conclusion of ‘Twistin’ the Night Away’, the majority were that much into it. Us, not so much.
The Summertime Kings
Local lads, The Summertime Kings, were up next. This four-piece have special places in a lot of the Boston Jive hearts. They were the band that played the first gig, post lockdown #1 in the Hubbert’s Bridge car park, during a rain shower while everyone legged it for shelter, and post lockdown (the final one) indoors at the same venue. Here they were on the main stage at Spalding, ready to delight the assembled with their tight harmonies and treasure chest of danceable ditties.
The covers they do, mix up the original fifties songs with more recent material from ‘todays’ bands, like opening up with The Bellfuries ‘Your Love Is All I’m Missing’ the Go Getters ‘One Heart To Spare’ and Big Sandy’s ‘Feelin’ Kinda Lucky’. Popular songs, very well presented. Similarly, they take on Bo Walton’s ‘This Little Car of Mine’ was replicated with some ace vocal harmony. For those who were there and thinking ‘Aquamarina’ and ‘Look Out Heart’, yep they were recorded by the Intelli-Gents and The Country Side of Harmonica Sam, but they were covers already (avoiding the stool again!)
There was a super rendition of ‘Hello Mary Lou’ sang A capella too, as well as stroll beats ‘Midnight Blues’, and ‘Shoppin’ Around’. Well-deserved encores of ‘Be My Guest’ ‘Corrine Corrina’.
The covers they do, mix up the original fifties songs with more recent material from ‘todays’ bands, like opening up with The Bellfuries ‘Your Love Is All I’m Missing’ the Go Getters ‘One Heart To Spare’ and Big Sandy’s ‘Feelin’ Kinda Lucky’. Popular songs, very well presented. Similarly, they take on Bo Walton’s ‘This Little Car of Mine’ was replicated with some ace vocal harmony. For those who were there and thinking ‘Aquamarina’ and ‘Look Out Heart’, yep they were recorded by the Intelli-Gents and The Country Side of Harmonica Sam, but they were covers already (avoiding the stool again!)
There was a super rendition of ‘Hello Mary Lou’ sang A capella too, as well as stroll beats ‘Midnight Blues’, and ‘Shoppin’ Around’. Well-deserved encores of ‘Be My Guest’ ‘Corrine Corrina’.
The DiMaggio Connection
The only international act at the festival, was a real treat from Italy in the shape of the DiMaggio Connection. This was a guitar masterclass from Marco DiMaggio, backed expertly by Matteo Giannetti on double bass and Marco Barsanti. The set they presented was a journey through the best-known Rock n Roll tunes, with their own style and twist, opening up with ‘Blue Moon of Kentucky’.
Great guitar work with Gene’s ‘Race with the Devil’ and a zippy version of Buddy’s ‘Everyday’. A mash up of ‘Route 66’ and ‘Chattanooga Cho Cho’ followed, with a super take on the Chet Atkins’/Ventures’ ‘Walk Don’t Run’, one of the 100 greatest guitar songs of all time (Rolling Stone magazine). More ace guitar work with ‘Cannonball Rag’ a tune recorded by greats such as Chet Atkins, Merle Travis and James Burton.
I wasn’t a set that remained at high speed throughout, there was a really classy version of Eddie Cochran’s ‘Sittin’ in the Balcony’, and revving up again with ‘Completely Sweet’, and the well-deserved encore of ‘Twenty Flight Rock’. Absolutely smashing set of classic Rock n Roll tracks, presented effortlessly and with consummate ease.
Gallery pics below
Great guitar work with Gene’s ‘Race with the Devil’ and a zippy version of Buddy’s ‘Everyday’. A mash up of ‘Route 66’ and ‘Chattanooga Cho Cho’ followed, with a super take on the Chet Atkins’/Ventures’ ‘Walk Don’t Run’, one of the 100 greatest guitar songs of all time (Rolling Stone magazine). More ace guitar work with ‘Cannonball Rag’ a tune recorded by greats such as Chet Atkins, Merle Travis and James Burton.
I wasn’t a set that remained at high speed throughout, there was a really classy version of Eddie Cochran’s ‘Sittin’ in the Balcony’, and revving up again with ‘Completely Sweet’, and the well-deserved encore of ‘Twenty Flight Rock’. Absolutely smashing set of classic Rock n Roll tracks, presented effortlessly and with consummate ease.
Gallery pics below
The Doel Brothers
Another gear switch next with the Doel Brothers, and ‘stragglers’ they picked up on the way (MC’s words not mine). The three brothers, Gordon (rhythm guitar and vocals), David (lead guitar and vocals) and Tom (drums), were joined by bassist Gary Boller in the rhythm room and Phil Morgan sliding the steel. Their style encompasses Hillbilly and Western Swing with some Rockabilly injected occasionally. An intermingling of their own material in the majority and a couple of well-chosen, cover songs followed, that went down really well with the Sunday evening crowd.
Indeed, one could be forgiven for thinking some of the original compositions, had been discovered in a vault in Tennessee, closed to the world since the early 50’s, such is the authenticity of the musical conveyance.
To give you a flavour of their style if you haven’t heard their stuff before, there’s Tennessee Ernie’s ‘Kissing Bug Boogie’, which they’ve pretty much made their own (in Ernie’s style, I know there are a chagillion other versions). Lattie Moore’s ‘Juke Joint Johnny’ gets the Doel treatment as does Carl Smith’s ‘Go Boy Go’.
In the recent past, they’ve released four albums, and we got to hear the opening tracks from three of them, the pacy duet of Gordon and David on ‘Wild Wild Woman’ that opened the show, ‘Empty Pot Blues’ and ‘There’s a Bottle on the Table’, which has a Don Woody feel to it. The rhythm and delivery of ‘Hole in My Shoe’ resonates with early Carl Perkins. Loving it all (or should we say ‘Louvin’ it all?....) and the sign off encore of another Tennesse Ernie tune ‘Catfish Boogie’. Great stuff.
Indeed, one could be forgiven for thinking some of the original compositions, had been discovered in a vault in Tennessee, closed to the world since the early 50’s, such is the authenticity of the musical conveyance.
To give you a flavour of their style if you haven’t heard their stuff before, there’s Tennessee Ernie’s ‘Kissing Bug Boogie’, which they’ve pretty much made their own (in Ernie’s style, I know there are a chagillion other versions). Lattie Moore’s ‘Juke Joint Johnny’ gets the Doel treatment as does Carl Smith’s ‘Go Boy Go’.
In the recent past, they’ve released four albums, and we got to hear the opening tracks from three of them, the pacy duet of Gordon and David on ‘Wild Wild Woman’ that opened the show, ‘Empty Pot Blues’ and ‘There’s a Bottle on the Table’, which has a Don Woody feel to it. The rhythm and delivery of ‘Hole in My Shoe’ resonates with early Carl Perkins. Loving it all (or should we say ‘Louvin’ it all?....) and the sign off encore of another Tennesse Ernie tune ‘Catfish Boogie’. Great stuff.
The Jive Romeros
How to end with a bang then? How about the Jive Romeros, decked out in their sharp looking white tuxedo jackets, and bringing their mix up brand of British Rock n Roll with some Haley, Bennett and others slotted in. Three of the bands ever-presents, Ritchie Crabtree, lead guitarist Zac Zdravkovic and charismatic frontman Martin Clark, were joined by ace sax man John Dobinson and drummer Mark Morgan (making another appearance at the weekender behind the cans).
To witness, and indeed sub-consciously be part of, a Jive Romeros show is an absolute joy from start to finish, the start, being ‘London Rock’. They ‘do’ Bill Haley very well, with jive delights like ‘Dipsy Doodle’, ‘Sweet Sue’, ‘Hot Dog Buddy’, ‘Birth of a Boogie’, ‘Tonight’s the Night’ and ‘Hey Then There Now’. The visual joi de vivre permeates into the crowd, and the musicianship is spot on, down to the boatswain’s whistle at the beginning of the Jodimars’ ‘Now Dig This’.
Tony Crombie and his Rockets, produced some of the finest British Rock n Roll of the fifties, and the Jive Romeros do it justice in their renditions of ‘London Rock’ and ‘Red For Danger’. Also flying the British flag, the King Brothers’ ‘Si Si Si’ delivered with vocal harmony expertise as was Tommy Steele’s ‘Rebel Rock’. Oh, and we must flag up ‘Let Me Off This Bus’ (or should we flag it down??), a Snooky Lanson oddity the band cover really well, and Cliffie Stone’s ‘Barracuda’, adding a bit of Western Swing to the diversity. A top drawer set once again from the Jive Romeros, and a fitting end to the live music
To witness, and indeed sub-consciously be part of, a Jive Romeros show is an absolute joy from start to finish, the start, being ‘London Rock’. They ‘do’ Bill Haley very well, with jive delights like ‘Dipsy Doodle’, ‘Sweet Sue’, ‘Hot Dog Buddy’, ‘Birth of a Boogie’, ‘Tonight’s the Night’ and ‘Hey Then There Now’. The visual joi de vivre permeates into the crowd, and the musicianship is spot on, down to the boatswain’s whistle at the beginning of the Jodimars’ ‘Now Dig This’.
Tony Crombie and his Rockets, produced some of the finest British Rock n Roll of the fifties, and the Jive Romeros do it justice in their renditions of ‘London Rock’ and ‘Red For Danger’. Also flying the British flag, the King Brothers’ ‘Si Si Si’ delivered with vocal harmony expertise as was Tommy Steele’s ‘Rebel Rock’. Oh, and we must flag up ‘Let Me Off This Bus’ (or should we flag it down??), a Snooky Lanson oddity the band cover really well, and Cliffie Stone’s ‘Barracuda’, adding a bit of Western Swing to the diversity. A top drawer set once again from the Jive Romeros, and a fitting end to the live music
Hot Rock ‘n’ Boogie #4 is already in the diary for 2023 (see flyer elsewhere in the magazine), and they have added a Friday night pre-party to the agenda. This event took it up a notch, the quality and diversity of the music was first class, from Hillbilly & Western Swing, through Jump Jive, R&B, a smattering of Jazz, House Rocking Blues, Rockabilly and Rock n Roll. The stalls were the type that sold quality items encompassing all styles. The sound guys, did a sterling job all weekend, and the whole ambience was conducive to the crowd’s enjoyment. Get it in your year planners!
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We could have eased you in gently...
but with thousands of you clamouring at the gate,
the Rhythm Riot will burst into life on Thursday
with an international line-up of four awesome bands
and a whole bunch of your favorite DJs.
The huge dance floors in the Ballroom and Lunars Bar will be rockin' into the early hours.
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Next Year's Hot Rock n Boogie
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cd and record reviews
A few record reviews, that are available at Bim Bam Records and other suppliers
The Summertime Kings – CD review
Fresh from another massively well received show at Hot Rock n Boogie, The Summertime Kings from Kings Lynn, and surrounding areas, have released their self-titled eleven track CD. It contains a dance delight from start to close with guaranteed floor filling potential. The ‘Kings, who were established in 2019, are Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar.
Starting as they mean to go on, they cover Coy Jackson’s ’66 Rimrock release, ‘Lookout Heart’. Made popular again by The Country Side of Harmonica Sam, the ‘Kings put their own spin on this established dancefloor winner. Some R&B favourites follow, with the lads utilising their vocal harmonies, for which they have become well noted, starting with Fats Domino’s ‘Be My Guest’.
‘Corrine Corinna’ dates back to 1928, when country blues artist Bo Carter cut it on Brunswick Records. It was quite a maudlin and melancholy recording, of what now, despite the lyrics, is an upbeat tune. This is due in no small part to the likes of Bill Haley and Big Joe Turner. The Summertime Kings once again use the single vocal voice format in the verses and harmonies in the chorus to good effect. If there’s a song that encapsulates the jive vibe, it’s the Five Keys ‘She’s the Most’, and it’s here in all it’s glory.
The Cues’ ‘Crazy Crazy Party’ gets a real vocal makeover, whilst still retaining it’s original beat, and due reverence to the Cues’ recording. Loving the harmonies on this one, folks. Stroll time with a cover of Bobby Day’s ’58 release ‘Little Turtle Dove’, and a slightly hopped up take of Eugene Church & Jessie Belvin’s duet ‘I’m in Love With a Girl’ which they recorded in ’56.
Super a capella vocals that bookend ‘Hello Mary Lou’, with the lads’ voices en-pointe, they certainly can do harmony well. Elvis’ ‘Such a Night’ keeps up the jive tempo, to what looks like the conclusion judging by the CD cover. Then up pops a second Cues cover, this time the unmistakable ‘Why’. Then it’s a couple of Festive tunes, a little odd reviewing in the summer, starting with a cover of the Moonglows’ ‘Hey Santa Claus’, featuring a super (uncredited) sax break. A little more up to date with the finale of JD MCPherson’s ‘Santa’s Got a Mean Machine’, from the 2018 album ‘Socks’. Cool upbeat tune this well presented by the ’Kings.
Great for dancers folks
Fresh from another massively well received show at Hot Rock n Boogie, The Summertime Kings from Kings Lynn, and surrounding areas, have released their self-titled eleven track CD. It contains a dance delight from start to close with guaranteed floor filling potential. The ‘Kings, who were established in 2019, are Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar.
Starting as they mean to go on, they cover Coy Jackson’s ’66 Rimrock release, ‘Lookout Heart’. Made popular again by The Country Side of Harmonica Sam, the ‘Kings put their own spin on this established dancefloor winner. Some R&B favourites follow, with the lads utilising their vocal harmonies, for which they have become well noted, starting with Fats Domino’s ‘Be My Guest’.
‘Corrine Corinna’ dates back to 1928, when country blues artist Bo Carter cut it on Brunswick Records. It was quite a maudlin and melancholy recording, of what now, despite the lyrics, is an upbeat tune. This is due in no small part to the likes of Bill Haley and Big Joe Turner. The Summertime Kings once again use the single vocal voice format in the verses and harmonies in the chorus to good effect. If there’s a song that encapsulates the jive vibe, it’s the Five Keys ‘She’s the Most’, and it’s here in all it’s glory.
The Cues’ ‘Crazy Crazy Party’ gets a real vocal makeover, whilst still retaining it’s original beat, and due reverence to the Cues’ recording. Loving the harmonies on this one, folks. Stroll time with a cover of Bobby Day’s ’58 release ‘Little Turtle Dove’, and a slightly hopped up take of Eugene Church & Jessie Belvin’s duet ‘I’m in Love With a Girl’ which they recorded in ’56.
Super a capella vocals that bookend ‘Hello Mary Lou’, with the lads’ voices en-pointe, they certainly can do harmony well. Elvis’ ‘Such a Night’ keeps up the jive tempo, to what looks like the conclusion judging by the CD cover. Then up pops a second Cues cover, this time the unmistakable ‘Why’. Then it’s a couple of Festive tunes, a little odd reviewing in the summer, starting with a cover of the Moonglows’ ‘Hey Santa Claus’, featuring a super (uncredited) sax break. A little more up to date with the finale of JD MCPherson’s ‘Santa’s Got a Mean Machine’, from the 2018 album ‘Socks’. Cool upbeat tune this well presented by the ’Kings.
Great for dancers folks
FTM v/s The Preacher – 45rpm
Ding-ding, it’s round nine of this epic clash between FTM Mark Philips and Simon ‘The Preacher’ as they present another super twin spin in the contest. The meticulous way that both unearth material from the 50’s and 60’s is admirable, and this 45, retains the quality of previous releases.
Side ‘A’ is FTM’s contribution ‘The Midnight Roll’ by Virgil Holmes. Holmes was an artist that had a foot in the camps of late 50’s to early sixties musical styles. He released three singles, two in ’61 and this one in ’62, ‘The Midnight Roll’ being the ‘B’ side on Warner Bros. Records. This track is a bright and breezy jive tempo, and the word is that the Four Seasons provide backing vocals.
On the flip, which is dedicated to the memory of Allen Crain, Whitey Gallagher’s ‘Searching (I’m Always Looking)’ from 1956. Whitey was born Rubon T Golliher in Tennessee in 1929, and released two singles in the late 50’s, this being on the ‘B’ side of the first. It’s quite a haunting sound with a country ramble vibe.
Two top drawer releases, keeping up the eminence
Ding-ding, it’s round nine of this epic clash between FTM Mark Philips and Simon ‘The Preacher’ as they present another super twin spin in the contest. The meticulous way that both unearth material from the 50’s and 60’s is admirable, and this 45, retains the quality of previous releases.
Side ‘A’ is FTM’s contribution ‘The Midnight Roll’ by Virgil Holmes. Holmes was an artist that had a foot in the camps of late 50’s to early sixties musical styles. He released three singles, two in ’61 and this one in ’62, ‘The Midnight Roll’ being the ‘B’ side on Warner Bros. Records. This track is a bright and breezy jive tempo, and the word is that the Four Seasons provide backing vocals.
On the flip, which is dedicated to the memory of Allen Crain, Whitey Gallagher’s ‘Searching (I’m Always Looking)’ from 1956. Whitey was born Rubon T Golliher in Tennessee in 1929, and released two singles in the late 50’s, this being on the ‘B’ side of the first. It’s quite a haunting sound with a country ramble vibe.
Two top drawer releases, keeping up the eminence
Cliff Davis – repro 45
This 45rpm, pairs together two of Cliff Davis and the Kentucky Playboys ‘A’ sides on one monster double header. The western swing sound of these two tracks makes them sure fire winners with DJs.
‘Rocky Road Blues’ associated a lot with Bill Monroe and Gene Vincent, is a nippy beat, with a shout back chorus and was recorded on the Jay Jay label of Chicago, in 1956. The following year, this time on Banana Records, also of Chicago, and at the same address as Jay Jay, came the second of his two singles, ‘Hard Hearted Woman’. This features some ace sliding steel against a peppy beat
This 45rpm, pairs together two of Cliff Davis and the Kentucky Playboys ‘A’ sides on one monster double header. The western swing sound of these two tracks makes them sure fire winners with DJs.
‘Rocky Road Blues’ associated a lot with Bill Monroe and Gene Vincent, is a nippy beat, with a shout back chorus and was recorded on the Jay Jay label of Chicago, in 1956. The following year, this time on Banana Records, also of Chicago, and at the same address as Jay Jay, came the second of his two singles, ‘Hard Hearted Woman’. This features some ace sliding steel against a peppy beat
Jesse James - 45rpm
Although credited to Jesse James, this was an alter ego of Lee Denson (1932 – 2007), whose first given name was Jesse.
This Ace Records 45, features two recordings he made on the Kent Record label. The almost anthemic song for many in the 1970’s ‘The South’s Gonna Rise Again’, a rallying cry for the Confederate states in America. On the ‘B’ side, another rip roaring rocker ‘Red Hot Rockin’ Blues’. These tracks feature musicians of the calibre of Earl Palmer, Plas Johnson and Rene Hall. Cool beans
Although credited to Jesse James, this was an alter ego of Lee Denson (1932 – 2007), whose first given name was Jesse.
This Ace Records 45, features two recordings he made on the Kent Record label. The almost anthemic song for many in the 1970’s ‘The South’s Gonna Rise Again’, a rallying cry for the Confederate states in America. On the ‘B’ side, another rip roaring rocker ‘Red Hot Rockin’ Blues’. These tracks feature musicians of the calibre of Earl Palmer, Plas Johnson and Rene Hall. Cool beans
Little Tony and His Brothers repro 45
Little Tony (Antonio Ciacci 1941-2013) had a massive career as a singer and actor from 1957 to 2013. This record’s ‘A’ side was recorded in London when he was just eighteen, with his brothers Alberto and Enrico. So, I guess you could call this British-Italian Rock n Roll.
‘I Can’t Help It’ is a super cool jiver, while on the flip, ‘Teddy Girl’ is from 1960, benefitting from a top sax break, set to a mid-tempo rhythm
Little Tony (Antonio Ciacci 1941-2013) had a massive career as a singer and actor from 1957 to 2013. This record’s ‘A’ side was recorded in London when he was just eighteen, with his brothers Alberto and Enrico. So, I guess you could call this British-Italian Rock n Roll.
‘I Can’t Help It’ is a super cool jiver, while on the flip, ‘Teddy Girl’ is from 1960, benefitting from a top sax break, set to a mid-tempo rhythm
Ted Harris 45rpm
Ted Harris (1932 – 2015) was a country music songwriter and disc jockey who wrote for Charley Pride, Ferlin Huskey and Glen Campbell among others.
Here is his debut single on RCA records, one of five he recorded. ‘Just Thought I’d Set You Straight’ is a well-established, growling vocal rocker, while the ‘B’ side is a more sedate teen tune.
Ted Harris (1932 – 2015) was a country music songwriter and disc jockey who wrote for Charley Pride, Ferlin Huskey and Glen Campbell among others.
Here is his debut single on RCA records, one of five he recorded. ‘Just Thought I’d Set You Straight’ is a well-established, growling vocal rocker, while the ‘B’ side is a more sedate teen tune.
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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 through 2022, is up to the powers that be
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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
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We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. 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 through 2022, is up to the powers that be
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
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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
